ran omas an ston

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■ ■ y sk
v:.
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New York
 usion o
Disney Animation

Frank Th omas an j on ie Johnston

 This book is dedicated to
Walt Disney
and the staff of artists
who brought the magical quality of life
to character animation.

Copyright © 1981, Walt Disney Productions

All rights reserved. No part of this book may he used or reproduced in any manner
whatsoever without the written permission of (lie Publisher.
Printed in Italy.
For information address Disney liditions, I 14 Fifth Avenue, New York, NY 1001 I

Lib ra ry o f Co i ig re ss Cata I og i ng-In- PiLbl icati on Data

Thomas, Frank, 1912
I he illusion of life : Disney animation / Frank Thomas and 01 lie Johnston.
I si I lyperi on ed.
p. cm.
Rev. ed. of : Disney Animation, Popular cd. 1984.
Includes bibliographical references and index.
ISBN 0-7858-6070-7
I - Walt Disney Productions, 2. Animated films United Slates- History and criticism.
1. J oh n slon. OLlie. 1912 , II. Th urn i ls , I Ta ok, 1912- L > i s i icy a n i ma tio n. 111. Ti tie.
ISC.T766.U52D58 1995
741.5'8'0979494—dc2 0 95-! 9427
CIP

10 9 8 7 6 5 4 j
 Contents
Preface
Ac krn yw I edgmen ts
! An Art Form Is Bom 13

2. The Early Days 1923-1933 29

3. The Principles of Animation 47
4. Discovery 1934-1936 71

3. Cartoon Comes of Age 93

6, Appeal and Dynamics 119

7. Hyperion: I he Explosion 141

ft. Burbank and The Nine Old Men 159

9, Our Procedures 185

10, How to Get It on the Screen 243
13, The Disney Sounds 285
12. The Follow-up Functions 303

13. The Uses of Live Action in Drawing

Humans and Animals 319

14. Story 357

15. Character Development 393

16. Animating Expressions and Dialogue 441

3 7, Acting and Emotions 473
18, Other Types of Animation—
and the Future 509
Notes

Appendices
Index
Preface

This book is about Disney character animation* an art enabling us to gain perspective and insight on events
form that created such world-famous cartoon figures that had gone whizzing by l^ick when we were too
as Mickey Mouse and Donald Duck. Disney anima¬ busy to notice or appraise. Occasionally one individ¬
tion makes audiences really believe in those charac¬ ual disagreed w ith another over interpretation and even
ters, whose adventures and misfortunes make people recollections, but, then, arguments were always daily
laugh—and even cry. There is a special ingredient in occurrences when we were making the pictures That
our type of animation that produces drawings that was an important part of Che team effort.
appear to think and make decisions and act of their Many will look to this book to teach them ihe secrets
own volition; it is what creates the illusion of life. of Disney animation so that (hey can become instant
Mo other studio has been able to duplicate this most successes. Unfortunately, this craft cannot he learned
important {but least understood) element in our films. by just reading a book* and not overnight under any
It cannot be produced by money alone. When a pro¬ circumstances. Our original intention had been to write
ducer says he is going to make a “ Disney-type" film* a book on how to animate, hoping we could offer
he may think that full animation, nice color, and a inspiration rather than something to copy, but as we
large budget are all that is needed. But Disney anima¬ did our research it became obvious that (here was a
tion is more than drawing, or animating* or storytell¬ greater need to record just how this special kind of
ing, or painting—it is what this hook is ail about. animation had developed. Those times were unique
In tracing the development of character animation and wrill never be duplicated; yet much of what was
rather than the studio or the men in it, inevitably we learned had been valid in the theater for several hun¬
will leave out the names of many fine artists. We dred years and continues to he valuable wherever there
regret slighting anyone, but we regret even more hav¬ is communication with an audience, We fell that this
ing overlooked a key scene in animation history or a wealth of knowledge in animation should be preserved.
special sequence in a picture that would have helped Ron Miller, executive head of all production at the
explain and clarify our meaning. It is, perhaps, mis¬ Disney Studios* hoped to double the staff of animators
leading to credit specific artists with the drawings we by 1981, but he found, even after an intensive search,
show in the book, since this might imply that both Che that 11. , . there just aren't that many people capable of
idea and the style came from one person; for this was doing animation in the Disney style.'* What is the
seldom the case. So much of our own work appears Disney style? Can it he explained? We hope so This
here simply because it was all that was available after book is written for the student who wants to know how
so many years. Animators usually do not save the Disney animation was done; for the historian who wants
thumbnail sketches, character drawings, and experi¬ to know why it was done that way; for the artist who
mental plans that reveal the most important stages in has never realized the potential of animation as a pro¬
developing a personality or piece of business. In any fession; for the general public who stilt wonders*
case, the emphasis here is on the research rather than “Wrhat really makes them move?1'
the people who did the drawings. We hope that some readers will be stimulated to
One of the most rewarding parts of (his project has carry on these traditions and elevate this art form to an
been the interviews with old friends and colleagues* ever-higher level.
Acknowledgments

This book belongs to the people, past and present, of Ed Aardal Bill Justice
Wall Disney Productions, whose cooperation and assis¬ James N. Atgar Glen Keane
tance made it all possible. Special thanks must go to Ken Anderson Richmond (Dick) Kelsey
the executives E, Cardan Walker, Ron Miller, and William Anderson Katherine Kerwin
Vince Jefferds, for without their continued support Xavier Atencio Betty Kimball
over the four long years we spent putting it together, Art Babbitt Ward Kimball
this book would never have been written. Ted Berman Eric Larson
We wish to thank the many departments who were Al Bertino Fini Littlejohn
more helpful than their jobs required. In alphabetical Carle ton (Jack) Boyd Ann Lloyd
order, they are: the Animation Research Team, under Roger Broggie Mrs, Ham (Frankie) Luske
Leroy Anderson, who stored the artwork from each Bob Broughton Eustace Lycetl
picture in the basement '"catacombs''; in Archives, Les Clark Jim Macdonald
Dave Smith and Paula Sigman, who tracked down Ron Clements Bob MeCrca
information, checked names and dales and spellings Larry Clemmons Bill MeFadden
and titles and locations; Art Props, whose skills and Claude Coats Bob McIntosh
knowledge in salvaging and presenting materials were Evelyn Coats Dave Michener
invaluable; the ladies in Ink and Paint who furnished Ed Cook Clarence Nash
us with incredible work on the cels; the dedicated staff Bill Cottrell Grim Nat wick
in the Library; the crew- in Merchandising and Publica¬ Art Cruiekshank Maurice Noble
tions, and Don MacLaughlin in particular: the cooper¬ Jack Cutting Cliff Nordherg
ative men in Still Camera and their indomitable leader Marc F. Davis Ken O’Brien
Dave Spencer. We are indebted to them all. We also Lou Debney Ken O’Connor
are grateful for the encouragement received, in No¬ Al Dempster Dale Oliver
vember 1979, from Diane Disney Miller’s warm re¬ Don Duck wall Bill Beet
sponse to our manuscript in its first complete form. Becky Faltbcrg Ken Peterson
We were very fortunate to have for our editor the Vance Gerry Elmer Plummer
patient and scholarly Walton Rawls, His sensitive con¬ Blaine Gibson Martin Pro veil sen
tributions showed a remarkable understanding of our George Goepper Wolfgang Reilhcrman
purposes that was both reassuring and appreciated. Floyd Goilfredson Leo Salkin
Our thanks also go to our sympathetic publisher Robert Joe Grant Milt Schaffer
E. Abrams, whose personal interest in the project and Don Griffith Ben 5 harps teen
determination to make a quality book of our writings Betty Ann Guenther Me! Shaw
and sketches inspired us to an even more critical Dave Hand Art Stevens
approach to our work. Ed Hansen Sandy Strother
The day after Walt died, Woolie Rentier man said, T. Hee Herb Taylor
"From this day on it will never be like it was, but only John Hench Mary Tebb
as each person remembers it." We want to express our Dick Huemer Ruthie Tompson
appreciation to the following people who helped us Wilfred Jackson Tom Wilhite
remember the way it was:
i. An Art Form Is Bom
' 'Animation can explain whatever the mind of man can conceive Walt Disney

Man always has had a compelling urge to make repre¬ suggestion of movement. Since that time, we have
sen 1 at ions of the things he sees in the world around been inundated with artists' attempts to shape some¬
him. As he looks at the creatures that share his daily thing in clay or stone or paint that has a life of its own.
activities, he first tries to draw or sculpt or mold their Certain artisis have achieved marvelous results:
forms in recognizable fashion, Then, when he becomes sculptures that are bursting with energy, paintings that
more skillful, he attempts to capture something of a speak w ith strong inner forces, carvings and drawings
creature’s movements—a look, a leap, a struggle. And and prints that have captured a living moment in time.
ultimately, he seeks to portray the very spirit of his But none can do more than suggest what happened just
subject. For some presumptuous reason, man feels the before, or w hat w ill happen after that particular moment
need to create something of his own that appears to be has passed. Yet, through alt the centuries, artists con¬
living, thiU has an inner strength, a vitality, a separate tinued to search for a medium of expression that w ould
identity—something that speaks out with authority—a permit them to capture that elusive spark of life, and in
creation (hat gives the illusion of life. the late 1800s new inventions seemed at last to make
Twenty'five thousand years ago, in the caves of this possible. Along with improvements in the motion
southwestern Europe, Cro-Magnon man made astound¬ picture camera and the development of a roll film
ing drawings of the animals he hunted. His representa¬ capable of surviving the harsh mechanisms for project¬
tions are not only accurate and beautifully drawn, hut ing its images, a new an form was born: animation.
many seem to have an inner life combined with a By making sequential drawings of a continuing action

From the earliest days, man has tried to capture in drawings the living quality of the creatures around him.
WAFOflj John SeweiL Eric
"son—Bainbi,
mimatim. powerful move¬
nt comes from ihe draw¬
's in series mare than (he
Ufui handling of any siti-
figure
ami projecting tlieir photographs onto a screen at a tion ist it is also extremely difficult. Still, once an
constant rale* an artist now could create all of the artist sees his drawings come to life on the screen, he
movement and inner life he was capable of. will never again he quite satisfied with any other type
An artist could represent the actual figure, if he of expression.
chose, meticulously capturing its movements and ac¬ The unique challenge of this art form was aptly
tions. Or he could caricature it, satirize it, ridicule it. described by Vladimir (Bill) Tytla* first animator to
And he was not limited to mere actions; he could show bring true emotions to the cartoon screen,1 'll was
emotions, feelings, even innermost fears. He could mentioned that the possibilities of animation are infi¬
give reality to the dreams of the visionary. He could nite. It is all that, and yet very simple—but try and do
create a character on the screen that not only appeared it! There isn't a thing you can’t do in it as far as
to he living but thinking and making decisions all by composition is concerned. There isn’t a caricaturist in
himself. Most of alL to everyone's surprise, this new this country who has as much liberty as an animator
art of animation had the power to make the audience here of twisting and weaving his lines in and out. . , .
actually feel the emotions of a cartoon figure. But I can’t toll you how to do it—I wish l could.”
What an amazing art form! It is astonishing that so Bill was speaking to a group of young animators
few professionals have investigated its possibilities, who had been asking how he achieved his wonderful
for where else does the artist have such opportunities results on the screen. He answered simply, ”To me
for self expression? There is a new excitement to the it’s just as much a mystery as ever before—sometimes
familiar elements of drawing and design when they are I get it—sometimes I don’t. I wish 1 knew, then I’d do
shown heroic size on a large screen, hut, more than it more often.
that, the addition of movement opens the way to almost “The problem is not a single track one. Animation
unlimited new relationships in alt areas. And the won¬ is not just timing, or just a well-drawn character, it is
ders continue on into color. the sum of all the factors named. No matter what the
Even the brightest pigments on a painting can reflect devil one talks about—whether force or form, or well-
back to the viewer only a limited amount of light. drawn characters, timing, or spacing—animation is all
Their apparent brightness is relative to itself, a range these things—not any one. What you as an animator
from dark to light of about 20 to I. But with the light are interested in is conveying a certain feeling you
intensity of the projection lamp and a highly ref!©dive happen to have at that particular time. You do all sorts
screen, this brightness factor increases to an exciting of things in order to get it. Whether you have to rub
200 !o 1—ten times as grcal! Just as the stained glass out a thousand times in order to gel it is immaterial,”
window had brought dazzling brilliance after centuries Conveying a certain feeling is the essence of com¬
of relatively dull frescoes, the introduction of light munication in any art form. The response of the viewer
behind the film made whole new ranges of color avail¬ is an emotional one, because art speaks to the heart.
able to the artist. Add to this the potential for building This gives animation an almost magical ability to reach
color relationships in sequence for stronger emotional inside any audience and communicate with all peoples
response, and the artist has before him an incredible everywhere, regardless of language barriers. It is one
medium for self expression But rewarding as anima¬ of animation's greatest strengths and certainly one of
the mosi important aspects of this art for the young Scientist and author Jane Goodall reports that even
animator to study and master. As artists, we now have lesser primates, such as the chimpanzee, have a whole
new responsibilities in addition to those of draftsman “complex nonverbal communication based on touch,
and designer: we £iave added the disciplines of the posture, and gesture, , , These actions vary from
actor and the theater. Our tools of communication are an exchange of greetings when meeting to acts of
the symbols that all men understand because they go submission, often with the arm extended and the pa bn
back before man developed speech. turned down. When a top-ranking male arrives tn any
group," ‘che other chimps invariably hunry to pay their up at him with big staring eyes/'2
respects, touching him with outstretched hands or bow¬ Some two hundred more signs that dearly display
ing, just as courtiers once bowed before their king/' chimpanzee emotions include preening, embracing,
Miss Goodall describes how a lone male passing a charging, kissing, and pounding. Chimps are apt to
mother and her family responded to her greeting with fling their arms around each other for re assurance,
a touch, "as^himp etiquette demands, then greeted throw things in anger, steal objects furtively, and
her infant, patting it gently on the head while it looked scream wildly with excitement,3 Most of these ex-
 tiy JCMif
Tirrfl Inr
pressions of feelings and language symbols are well tired, or discouraged, or even listless. We can add a
known to man. whether they are buried deep in his tear and pinpoint our altitude a little better, hut that is
subconscious or still actively used in his own com¬ the extent of our capabilities.
municative behavior. The live actor has another advantage in that he can
Dogs, too. have a whole pattern of actions not only interrelate with others in the east. In fact, the producer
clearly understood by other dogs but by man as well. relies heavily on this, When he begins a live action
Even without using sounds, dogs can convey ail of the picture, he starts with two actors of proven ability who
broad spectrum of emotions and feelings. There is no will generate something special just by being together.
doubt when a dog is ashamed, or proud, or playful, There will he a chemistry at work that will create
or sad (or belligerent, sleepy, disgusted, indignant). charisma, a special excitement that will elicit an imme¬
He speaks with his whole body in both attitude and diate response from the audience. The actors will each
movement. project a unique energy simply because they are real
The actor is trained to know these symbols of com¬ people.
munication because I hey are his tools in trade. Ba¬ By contrast, in animation we start with a blank piece
sically, the animator is the actor in animated films. He of paper! Out of nowhere we have to come up with
is many other things as well' however, in his efforts to characters that are real, that live, that interrelate. We
communicate bis ideas, acting becomes his most impor¬ have to wrork up the chemistry between them, (if any is
tant device. But the animator has a special problem. to exist), find ways to create the counterpart of cha¬
On the stage, all of the foregoing symbols are accom¬ risma. have the characters move in a believable man¬
panied by some kind of personal magnetism that can ner, and do it all with mere pencil drawings. I hat is
communicate the feelings and attitudes equally as well enough challenge for anybody.
as the action itself. There is a spirit in this kind of These problems would seem to create considerable
communication that is extremely alive and vital. How¬ difficulties for achieving the communication claimed
ever. wonderful as the world of animation is, it is too for animation. How can it work so wonderfully? It
crude to capture completely that kind of subtlety, does it in a very simple way through what we call
If in animation we are trying to show that a charac¬ "audience involvement." In our own lives, we find
ter is sad, we droop the shoulders, slump the body, that as we get to know people we share their expe¬
drop the head, add a long face, and drag the feet. Yet riences—we sympathize, we empathize, we enjoy. If
those same symbols also can mean that the character is we love them, we become deeply concerned about
[heir welfare. We become involved in (heir lives. microphone, echoing footsteps, a creaky, door; you
We involve the audiences in our films the same svere held spellbound. The broadcasts were projected
way. We start with something they know and like. through symbols into your imagination, and you made
This can be either an idea or a character, as long as it the situation real. Jc was not just what you heard, it
is familiar and appealing. It can be a situation every¬ was what the sounds made you believe and feel. It was
one has experienced, an emotional reaction universally not the actor s emotions you were sensing anymore.
shared, a facet of someone’s personality easily recog¬ They were your emotions.
nized. or any combination of these. But there must be Fortunately, animation works in the same way. It is
something that is known and understood if the film is capable of getting inside the heads of its audiences,
to achieve audience involvement. into their imaginations. The audiences will make our
In [he great days of radio, there were many pro¬ little cartoon character sad—actually, far sadder than
grams presented in such a special, intimate way that we could ever draw him—because in their minds (hat
they drew the listening audience into their stories character is reaL He lives in their imaginations. Once
completely. The mystery programs were particularly the audience has become involved with your charac¬
good at this, using voices that reached out to you—and ters and your story, almost anything is possible.
good sound effects: heavy breathing up close to the For a character to be that real, he must have a per-
 TIME CHART 1923 to 1933

1923 _____ _
Walt makes Alice's Wonderland in Kansas City. In August. Walt comes to Hollywood.
Contract for Alice scries. Forms company with brother Roy.

1924 --- - - ---

Joined by Ub [works and friends from Kansas City. Turn out one picture a month.

Series successful. '

staff grows to 12. New contract for one picture every three weeks. Buy property on Hypenou Ave. Stan budding.

192ft

Move to new studio on Hyperion.

1927 ___ ___

Complete last Alice film, start new series with Oswald the Lucky Rabbit.

1928 __■- ------—-

After 26 pictures. Wall loses rights to Oswald. Starts new series with Mickey Mouse.

SOUND COMES IN —---"-- --“

Nov. IH, Steamboat Willie opens in New York.

1929 -- ------

More space needed. Use of sound makes Disney's foremost cartoon studio. Animators from New "i ori: begin arriving,
building expanded. First Silly Symphony— Skeleton Dance. Mickey's Chao Choo, animated train engine.

1930 ____ _ ___“

Staff increases to 30. Chain Gang, has dog that later became h Into.

1931 ---- -
New buildings added tor
animators, plus sound lfg(v Duckling, example of stronger stories. First layout man hired.
stage.

1932 --------1 -
Flowers and Trees, first cartoon in color. Start of art school at night.

Personnel passes 100!

1933 ___ __
Three Lifde Pigs. Astounding success finances expansion anti more studv. Bottom ol Depression.
tonality, and. preferably, an interesting one. He must are setting down. You could be gleeful, enjoying each
be as comfortable as an old shoe, yet as exciting as a cruel word. Or you could be triumphant as you think
new spring outfit. Spectators can laugh at a gag, be of better, stronger, more biting words. Or you could
dazzled by a new effect, and be intrigued by some¬ be trembling with rage at the whole idea of the terrible
thing completely fresh, hut all of this will hold their effrontery of this mechanical age.
attention for barely ten minutes As Charlie Chaplin Suppose the writer were lovesick and writing to his
said of his own beginnings in the movie business, dream girl—probably the third such note that morn¬
‘'Little as I knew about movies, I knew that nothing ing. A silly smile might become fixed on his face as he
transcended personality/"4 In addition to gags and reveled in each sugary word With half-closed eyes
effects, there must be a point of entry through which and heavy sighs, he would gaze into space seeing a
audiences can identify with the story situation, and the momentary vision of her precious face. There would
best way is through a character who is like someone be kissing of the card when he was finished, even a
they have known. He can be more heroic, or bigger reluctance to drop it into the mailbox until he had
than life, or "meaner than sin/1 but basically he has sighed one last time and kissed the beloved name just
to be human enough for the audience to understand once more.
him and identify with the problems he faces in the It is easy to see how the development of an indivi¬
story. dual personality in a story situation can make even the
The great American mime and artist Angna Enters' dullest action become entertaining. In addition to the
used to give her class the assignment of writing a personality, however, there should be a change in the
postcard under imagined circumstances, because it is initial action that wall enable an animator to show
an action devoid of any interest whatsoever without more than one side of this personality. The most inter¬
the addition of personality. But once a strong person¬ esting character in the world is not very exciting when
ality is introduced great possibilities suddenly become sitting and listening to a symphony concert. Our true
AMlMATW
apparent. personalities are best revealed by our reactions to a Donald’s (
To begin with, it helps (o develop a situation in change we did not expect.
which your imagined personality can function. Say Adversity f.
fake a simple example of a golfer getting ready to
piTson&lif]
that you are starting out on a tour; it is morning and the make a crucial shot. He shows concentration and deter- character.
bus is ready to leave. You have been urged to hurry
up, hut just then you remember that you forgot to put
the eat out before leaving home! You must write a
quick note to your neighbor who has the key, asking
her to take care of things. Now, how would you write
the card? If you have chosen a nervous, insecure, and
disorganized personality in the first place, you will
have almost unlimited hits of business to show all
facets of the character—the confusion, the panic, the
fear of being left behind, the inability to phrase words
so that they make any sense, the flutter of imminent
chaos, the desperation.
Or suppose the person writing the card is highly
indignant because a computer insists that he has not
paid a certain bill and has just sent him his last notice.
Now the words must be chosen with care. The com¬
puter and the company that has been stupid enough to
own it must be told off in no uncertain terms. There
will be no recourse from the incisive accusations you
mination as he prepares for the important swine;. Then,
suppose he misses Ihe hall entirely. Mis true character
will be revealed at once! It he is Donald Duck, he will
fly into a rage and blame the hall. If he is insecure and
nervous, he will blame the club and promptly break it
over his knee. Or, if he is a popular amateur who has
been off his game hut has a sympathetic gallery trying
to encourage him, his response wilt he bitter dejec¬
tion, and you will have pathos in your story.
Our goat in these studies is to make the audience
feel the emotions of the characters, rather than appreci¬
ate them intellectually. We w ant our viewers not merely
to enjoy the situation with a murmured. "Isn’t he
cu-ute?” but really to feel something of what the char¬
acter is feeling. If we succeed in ihis, the audience
will now care about the character and about what hap¬
pens to him. and that is audience involvement. With¬
out it. a cartoon feature will never hold the attention of
its viewers.
The various aspects of what animation is, what it
could do. and how it worked were learned slowly over
the years. They were certainly not evident when the
art form was first discovered, except in the epic works
of Vv’insor McCay, the New York Herald's skillful
cartoonist. Working essentially alone, he turned out
several astounding films between 3911 and 1921, with
some cartoon figures so convincing that he was accused
of tracing them from photographs. In response, McCay
drew a dinosaur for his next film, and, incidentally,
discovered the importance of a cartoon character’s per¬
sonality in establishing rapport with the audience.
Today his films are historic classics, hut in their time
they were not commercially successful and that forced
McCay to return to newspaper work. His creations
were virtually forgotten for fifty years.
Others entering the animation field lacked McCay's
awesome talents, and few attempted anything more
than what was commercially acceptable. After all. in
those early days, movies were still a novelty and car¬
toons were added to the program only for amusement,
They were not an imporiant part of the show , and very
little money came back to the studios [hat made them.
Audiences responded to the gags and preposterous sit¬
uations, so creative energies went into a search for
different approaches, fresh angles, new tricks, rather
than into making better pictures. When the men in a
studio found a gimmick that was successful, they hung was to the wall he had the strong support of his staff*
onto it tenaciously. Mas Fleischer had his "Out of the whose loyalty and dedication to both their boss and
Inkwell" series* and Pat Sullivan's studio produced their work kept them making sacrifices through days
Otto Messmer's films of ''Felix the Cat/' Animated of uncertainty. When it came right down to it* most of
comic strips* illustrated jokes* live action retimed and us were more interested in keeping animation alive
combined with drawings, and a variety of other efforts than we were in making money. We were beginning to
were made to assure contract renewal for a struggling sense the magnitude of the art form that we were
studio. discovering, and its potential held us like a magnet.
Of all the early pictures, only the films about Felix Walt was basically a communicator* and in the ani¬
suggested the idea of giving a character personality, mated film he found astounding potential for expressing
but his creators had failed to develop this past rudi¬ his ideas. The cartoon drawing always had been a very
mentary beginnings, relying instead on visual tricks simple and direct graphic form, and whether it was for
that got audience response. Nothing then gave a due social comment or just amusement it had to present a
to what animation might someday become* and no unified, single idea with nothing complicated* extra¬
promising artists were attracted to the studios. Most neous* or contradictory in its makeup. When the car¬
people felt that by 1923 just about everything had been toon was transferred to film these elements still applied,
done that was possible, and (he exhibitors were looking and nothing was drawn that was not part of the idea.
in other directions for something new to keep their Baekground. costume, character, and expression were
audiences laughing. all designed for a succinct statement. Behind the char¬
This was the situation when Walt Disney entered acter there was only a horizon* or a house, or a ruck to
the field, and he was not an immediate success. In run into* but that was all.
fact, it is even surprising that he was able to get a To include only objects Chat were needed for the
toehold in ihis lough business of limited contracts and idea became the basis for a language of drawings on
light money. But Walt was a fighter and had great film. Walt took to this naturally* and if any of his staff
determination; he was no aesthetic artist living in a introduced something wrong or confusing or vague,
dream world. As he said, "l have been up against he was quick to notice and to educate the offender.
tough competition all my life. 1 wouldn't know how to Walt gradually added the more sophisticated graphic
gel along without it." Any man with Wall's talents symbols of acting* presenting complicated ideas that
but without his spirit and tenacity would never have had to be understood very quickly, We used to indi¬
made it. cate how successfully drawings communicated these
There were constant battles* many defeats, endless thoughts by saying that they either “read" or "didn't
disappointments: he lost the rights to his cartoon char¬ read," John Bench,'1 one of the studio's most gifted
acter, his staff, his contracts. And then when he Finally artists, said "We don't really know how much we
began to achieve a bit of success, his studio became a learned here about using images to communicate—to
prize to be taken over one way or another* or run out develop a kind of visual literacy." At the time, none
of business! Union jurisdictional problems plagued him of us thought in those terms or stopped long enough to
as he developed new techniques* new equipment, and gain perspective on what was happening. 'The language
new ideas in entertainment. Yet through it all he never of imagery was emerging as a separate art form of its
lost his love for people or his faith in their judgment, own, requiring skills and disciplines different from
"I am interested in entertaining people, in bringing those of related crafts. Not every artist could master the
pleasure, particularly laughter, to others, rather than demands, and most failed to realize that they were
being concerned with ‘expressing’ myself with obscure involved in something quite different and exacting.
creative i m pression s /' "I think this is a little hard for people to under¬
Through those first years, Walt and his brother Roy*1 stand," John continued, "the fact that y6u are devel¬
struggled alone against the people who controlled the oping a kind of language, and a very precise one.
movie industry. In later decades when Waifs back They figure that graphics are not precise at all—they're
 TIME CHART 1934 to 1943
Another building for 19.34___...
animal ion.
New wave of artists starts coming. Action analysis, classes. Ice!ures. Play fat Pluto. Stum U'
Personnel passes 200. a character thinksl Fixing Mouse, Goddess of Spring. Wise lAnte lien introduces
[Donald Duck-

Building for Ink & Paint. 1935 _*___

Burnt Concert, ilrsl Mickey in color.

Personnel passes 400. Cookie Carnival. Broken Toys,
Got den Touch. Who Kitted Cock Rabin?

1936
Mickey' s Grand Opera. Eimer Flephtml.
Three Little Wolves. Thru the Mirror.
Alpine Climbers. Country Cousin.
Piimtl io
1 story
Another animation 19.37
building.
Hawaiian Holiday. Sorcerer's
Personnel passes S00. Clot k Ctenners. Apprentice
The Old Miff. grows animation
Animation on Brave Little Tailor. into
Wall decides to make one 193H
feature a year- Fantasia
Animation on Practical Pig, an i final inn stoppe
story
The Pointer, Goo/y de Wilbur,
Ugh Duckling. .. more story work
Bit) nbi
personnel passes I0QC. animal ion animation siurled
story
1939

experimental
Burbank Studio finished: !>un \bo animation
staff moves as work is story
completed on Fantasia. full crew
1940

Ee binary 1940

animation
November 194(1
1941
W ar i n Europe lakes fore ig n
market. Staff cut to 700.
October 1941

1942 __

FiriOcchio, Fantasia,
Bambi all lose
money at box office. August 1942
Golden Age is over.
1943
just sort of decorative, they're pleasant to look at, ment were the government-financed WPA and Dis¬
they’re aesthetic—instead of understanding what the ney’s, In ten years the studio went from the raw vital¬
basic thing is about "image/ I don't know how else ity and crude, clumsy actions of Steamboat Willie to
anyone could get this except in motion pictures, and, the surprising sophistication and glowing beauty of
particularly, in cartoons—you sure don't get it in an Snow White, Together we at the Disney Studio had
art school.” discovered many things about communicating with an
It is impossible to judge the films that were made, or audience. We were still to learn much more.
the animation that was done, or even what is worth We continued to experiment with many approaches
preserving in the methods that were used, without an to Filmmaking and different uses of animation, from
understanding of this language of imagery that spoke “stop motion” with cut outs, limited movement,
so dearly from the screen—not drawings by themselves stylized design, puppets, and 3-D. to the full cel ani¬
or paintings or isolated antics, but the visual symbols mation, Whatever the method, the pictures that got (he
of communication. When the outstanding violinist Isaac biggest response in the theaters were always the ones
Stem was asked the difference between the great and that achieved audience involvement by telling definite
the truly great, he replied, L"The ability to communi¬ stories through rich personalities.
cate/1 It is (he key ingredient in every art form and It had begun writh Mickey and Pluto, a cartoon boy
certainly the great strength of Walt Disney’s genius. and his dog, who appeared to think and suggested the
Wall was also a gambler when it mattered most. If spirit of life. Then, the "Silly Symphonies” portrayed
he believed in an idea, he would risk absolutely every¬ emotions in their characters, and there had been a
thing to get it before the public, liut he was also prac¬ feeling of life. Finally, in the telling of feature-length
tical enough to work with what he had, rather than tales about specific characters who were convincingly
wail for what he wished he had. He would say, ”1 real, the full illusion of life was achieved.
don’t know if it's art, but I know I like it/’ and he The illusion of life is a rare accomplishment in ani¬
felt intuitively that if he liked it the rest of the world mation, and it was never really mastered anywhere
would like it, too—if only he could find the right way except at (he Disney Studio, Of all the characters and
to present it. stories and exciting dimensions of entertainment to
Walt had a restless nature and never liked to do the come from that incubator of ideas, this is (he truly
same things twice. As he said of himself, ”1 can never unique achievement. This is what must be examined
stand still. I must explore and experiment. J am never and explained, understood and appreciated, taught to
satisfied with my work. I resent (he limitations of my others and passed on to the animators of the future.
own imagination/’ Where others felt lucky if they It came from new ways of thinking, ways of making
could hang on to what they had, Walt was constantly a drawing, ways of relating drawings to each other—all
searching for new ways, better ways, and, especially,
ways that his small group of artists could handle. As
many of them agreed in later years, “One of Walt's
greatest gifts was his ability to get you to come up
with things you didn’t know were in you and that
you'd have sworn you couldnLt possibly do!"*
As the audience response verified Walt’s convic¬
tions about entertainment, he was able to fight for
better contracts that brought in a little more money.
Now he could begin to add to his staff men who had
been heller trained and artists who had a greater vari¬
ety of talents. The Depression had begun, and young
artists were faced with a bleak future, if any at all. in
the commercial Helds, The only two places for employ¬
the refinements in this language of imagery. But it exercise of constant critical judgment. That is why the
also came from new ways of looking at stories. Ours world’s greatest mime, Marcel Marceau, says of his
were not written down in the usual way; they were own work, “It takes years of study. You can't just
drawn, because a few stimulating pictures could sug¬ walk out on the stage and do it/'
gest far more about the potential entertainment in an Marcel Marceau also said that his teacher, Etienne
episode than any page of words. More than that, our Decroux, had told him that the principles of communi¬
stories were kepi flexible until long after the first ani¬ cation with an audience were the same ones in use
mation had been done. Often a whole new character 2,000 years ago; they had been handed down from
would appear from nowhere and take over the story. teacher to student ever since. The entertainer’s “sym¬
When we started Jnow White, there was no Dopey in bols1’ that bring audience identification and arouse
the cast, Pinocchio had no Jimmy Cricket, and Bamhi sympathetic feelings, as well as techniques used to
had no Thumper. All of these characters evolved as portray emotions, to please, to excite, to captivate, and
the pictures developed. As Walt said. “The best things to entertain, have always been known by some At
in iitany of our pictures have come after wc thought Disney’s wre learned them painfully and slowly by (rial
the story was thoroughly prepared. Sometimes we don’t and error. Although we had the greatest of leaders, he
really get close to our personalities until the story is in was not strictly a teacher. Still, by learning the rules
animation/7 this way we learned them thoroughly, and sometimes
It was never too lute to make a change; nothing was we think we may have added a few footnotes of our
ever set as long as the possibility existed that it could own to the historic lore of the theater.
he made to relate better to the overall picture or com¬ Most of our w ork has been in only one small part of
municate more strongly with the audience. We strug¬ the vast field of animation. There are so many areas to
gled to build interesting, appealing characters, but be explored, drawings to be tried, emotions to be cap¬
most of all we worked to find ways to make the audi¬ tured, effects to be created, new wonders to be seen, It
ence frd the emotions of the animated figures— is an exciting prospect. With electronic aids being
emotions the audience could “relate to. identify with, perfected and new tools and materials being used, who From
and become involved in/7 can possibly foresee what lies ahead? It probably will my, uf
All of this took study and desire and know ledge and not lx? another Walt Disney who wilt lead the way, but write
inspiration and months of selection and building, but someone or some group of artists will surely discover
that is true of any great artistic accomplishment. Fine new- dimensions to delight and entertain (he world. after a
works have never been achieved easily nor without the Hopefully, this book will be (heir springboard. begun

ms$T Oili? Johnston, artist Ward Kimball, artist iFrank Thomas

 M.J.WINKLER
DISTRIBUTOR^ .Y.
WINKLER PICTURES
2. The Early Days 1923-1933

"At first the cartoon medium was just a novelty, but it never really began to hit until we had more than tricks . ,.
until we developed personalities. We hud to get beyond getting a laugh. They may roll in the aisles, hut that
doesn't mean you have a great picture, You have to have pathos in the thing/’ Walt Disney

When Walt Disney first came to Hollywood he had no been praised on Tuesday was regarded as only a step¬
intention of continuing to make animated cartoons, 3 ie ping-stone to something better on Wednesday.
had done that kind of work in Kansas City, achieving All his money went into films and the development
only meager success with his Laugh-O-Grams and none Of a studio, as Walt began collecting a staff likely to
at all with his first film, Alice s Wonderland. Now he
wanted to try something that offered a greater outlet
for his continuous stream of creative ideas: Walt in¬
tended to be a movie director in one of the hig studios.
It was only after his money ran out and he was yet to
be appreciated by [he major producers that he was
forced to return to the one thing that previously had
paid his bills. Disappointing as this must have been for
Wall, it was extremely fortunate for everyone else.
Although he was interested in many different aspects
of the entertainment world—as he demonstrated in
later life—animation was truly the perfect outlet for
his special imagination and sense of fantasy. Still, the
year 1923 was a particularly bleak one to be entering
that field.
As a showcase of his work, Walt had one completed
ft!in, Alice's Wonderland, and when he sent it off to
a cartoon distributor he was surprised to receive, in
return, a contract for twelve more films. This was a
startling beginning, and if one planned films carefully,
watched expenses, and cut every conceivable comer,
it was possible to make a profit. But Walt was not
interested in cutting corners. It was typical of him that
anything he went into had to be the best, and not just
the best of what was currently being done, but the best
it was possible to do. This always made the job of
pleasing him very difficult, since the drawing that had
 for the average cartoonist really to know how to im¬
prove his work. The fun of animating, of doing gags, of
thinking up funny business took prsceilsn?? over the
long-term, seemingly distant rewards of self-improve¬
ment. In many cases, the aspiring artist whose curios¬
ity kept him seeking more and more knowledge often
found himself the subject of ridicule from his co-
workers. Bill Tytla was asked, 1 What the hell do you
want to go to art school for—you’re animating, aren't
you?"
They could not know it at the time, but actually
there was little chance lor these cartoonists to improve,
given the type of material they were animating. The
spot gags, stereotyped figures, absence of personality
in the characters, and slipshod method of working
gave the artists little opportunity to use any new-found
knowledge. Even the greatest of animators would have
withered under such limited demands. This is as true
today as it was then: there must be story business that
grow ei long with him. Hen Sharps teen.1 first of [he calls for good animation or there will lie no well-
animators to come out from New York. said. "'I needed animated scenes.
a job with a future, and I did not see a promising In 1923. the animated figure was moved as little as
future at these other studios. Bill Walt was different. possible in a cartoon, and then only to reach the loca¬
His high regard for the animation medium and his tion for the next gag. If his feel went up and down, he
determination to produce a superior product greatly was walking. If they went up and down fast, he was
appealed to me." Walt had no idea then what those tunning. As often as possible, the animators cut to a
superior pictures might he or how he would go about scene with the characters in place to "pull the gag."
making them; he had no plans and no specific stories, and theik cut away afterward to the next set-up. How
just the conviction that they were going to be the best the gag was staged was very important and given care¬
cartoons anyone held ever seen. ful thought, but the movement was considered more a
Of course, this was not a new1 or unique aim. Many chore than an opportunity for entertainment. There
of the men in New1 York had tried constantly to improve was no attempt either to imitate real action or to cari¬
the quality of animation. Art classes in the evenings cature it. Better work hud been done earlier, especially
were furnished by Raoul Barre at his studio to help by Winsor McCay, but no one knew how it had been
improve the drawing ability of his artists. Occasion¬ done. A few wished to improve, but where could they
ally. an animator would have an opportunity to study a study? Who could leach?
specific action carefully, and everybody would be awed It was even more difficult for beginners to learn
by the animation that followed. Still, it was difficult whal tricks already had been discovered. The lead

Before ike days of real¬

ism, Oswald's arms merely
grew until he could reach
his objective.
animators guarded their secrets carefully, never re¬
vealing their private devices, to anyone. What you
learned you had to learn by yourself' as best you could.
At Walt’s studio it was different. He insisted on an
open atmosphere where each artist shared his views
and discoveries. If one man made a drawing Walt
liked, he called everyone together to point it out. Or if
an action seemed clumsy or poorly staged, he would
direct the artist immediately to gel help from a stronger
man. All the desks were in one large room at the time
(which encouraged discussions of one type or another
anyway), so the animators talked about their art and
their problems and what the future of the studio might
be Even in those days, Walt was moving so fast into
uncharted areas that his men were hard put to keep up
with him. No one could deny that Walt was exceed¬
ingly stimulating and exciting to be around.
There was another factor besides talent and ability
that was to play a major part in Walt’s success. It was
his background as a farmboy living dose to the soil
and working with animals, which had given him a
philosophy and approach to entertainment with a uni¬
versal appeal. He never put on airs, was always sin¬
cere and honest, and these basic values permeated his
work. Although his tastes have been called mundane
by some, he always sought quality and style, Walt
said that he wanted his pictures to reflect the “ feeling
of happy excitement 1 had when l was a kid/' And
that spirit flowed througbah the projects he touched.
There was one last custom (hat enabled the Disney
animators to forge far ahead, and this seems to have
been quite accidental They used pegs at the bottom of
their drawing boards to hold their work in place, while
in the East top pegs always had been the rule. It had
seemed logical to put the pegs at the top of the board,
out of the way of (he artist's hand, and no one recalls
why Walt started to use bottom pegs hack in Kansas
City. No one knows why UbHwerks2 and the other
early animators eontinued to pul up with the little
obstructions that continually nicked their wrists and
hands, but without this chance procedure animation
might never have developed m(o a vital, forceful, and
varied art form.
Ihe reason for (his is more subjective than literal.
Drawings can be made almost as easily with either top
or bottom pegs, and, while relationships in the action
are more difficult to see when the paper is held at the enthusiasm—nothing was i impossible-
top, much of the action can be portrayed almost as Walt had grown up watching the great vaudeville
well. But there comes a time when the drawings are acts of the time, acts that had taken years to perfect
near completion that it is necessary to “feel” the life before an audience, among them "‘Willie, West and
supposed to he in them. This can be done only hy McGinty” and ""Joe Jackson and his bicycle/" and
" rolling"’ the drawings hack and forth, with one fin¬ also the work of Ihe great clowns like Emmett Kelly,
ger between each of any five drawings. The action is Walt admired Chaplin and the other film comedians,
checked forward and backward in minute detail or in Keaton, Lloyd, and Langdon. and he quickly under¬
broad relationships. Drawings 12 frames apart can be stood a basic truth of comedy: the personality of the
checked against each other to see whether they really victim of a gag determines just how funny the whole
give the illusion of the action wanted, and then all the incident will be. For instance, falling into an open
subtler secondary actions can be studied frame by manhole is not funny in itself. A little old lady trying
frame. to sell her last bunch of violets would get a very con¬
A whole stack of drawings can be lifted off the pegs cerned response to such a tumble. An eager Boy Scout
and flipped in sequence to give a good check on the wrho fell while demonstrating courtesy to his troop by
overall scene, but the only way an animator can tell if helping a little girl across the street might draw some
his character is acting as the scene was conceived is to chuckles, as long as he was not hurt hy the fall. But an
roll the drawings while feeling the action in his own arrogant construction boss who had just ridiculed some
body. Usually the animator tries to feel the action as worker for not watching what he was doing would be
he makes the initial drawings, and many a night he certain to get a laugh. Marcel Marceau used a simpler
goes home with a stiff neck or a wrenched back after example: if a dignified man slips on a banana peel, it
animating a dog in a quizzical look or a startled duck is funny. If it happens to a man who is dowrn and out,
whirling about in astonishment, It is possible to do a it is not.
very nice scene simply through careful planning and Walt also realized that it was better to build on a gag
hard thinking, hut without being able to roll through and let (he situation develop than to move quickly to
the drawings it is impossible to gel that extra juice that another gag. And most important of all, the thing that
produces the illusion of life. really got to an audience was their knowing how the
'[’his ""rolling” action became so important during character on stage fell about what was happening to
the mid-thirties that many an artist tried to enlarge his him: the ""looks” at the camera, the ""hum,” the rage,
capabilities of handling more than a mere five draw¬ the helpless stare, the hleak expression. Laurel and
ings at a time. Many tried to involve both hands in the Hardy used these reactions extensively, and Edgar
procedure, but that lost them the possibility of making Kennedy was well known for his hum of mounting
pencil corrections or additions at the same time, unless anger. Years later. Jack Benny became famous for his
they had been trained to draw with their teeth. Even ability to provoke sustained laughter hy merely looking
that was attempted. Those were days of invention and blankly out at the audience. Of course, the situation
 fi- an ai* isTS|fc.Iii vltt,
liir . '-i.t a* !
tilled «e aba
ItdbstL batman g|#l sad
txi--* 4 w Aeo
ad- -'id leu:' an i .io ,.
,-lTOB Mtd u. i .1 ieafe
’ . "•O V i ilii.’ ft'
this eliw.lL;. dl« sv;c fou
puli h..aln in j.ooStet ad
a? ' Y*wV.a 1
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1:,U. ■ vliich
all .n, :• Tn 1(?’■te (.,t
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«*^« hiS-j ' La j;-
ital-s-n ‘iT- .-afccj
fcsjirofeu lad. .i>>.

Mukey s acting shows

Walt's great interest in per¬
sonality and the challenges
he gave to his animators.
OM Ub iwerks made the layout
and Walt described the em¬
barrassed attitude wanted
in the scene.

had to be huill very carefully and cleverly for this

business to be effective, but the humor of the situation
lay in the look on Benny's face and the knowledge of
how he fell. r
Other comedians knew the value of this device-
In the twenties, emotions
Walter Kerr in his book. The Silent Clowns,3 points
were shown in a very ele¬
out that Chaplin took care to establish himself as one mental tv^ry. Mickey ex¬
of us, as belonging to the world of the audience rather presses anger and disgust
than the characters on the screen. He shared every- in Steamboat Willie.

thing with us—from delight to distress—and this is the

quality that Walt intuitively reached for even before people to work for them, and not just a few friends but
the days of Mickey Mouse. many people of diverse interests and backgrounds,
In his first films, the characters look at the camera very unlikely people, all working w ith each other for
and shrug, or have an embarrassed, toothy smile, or this one man!" Years later when Wall wras asked what
register consternation with worried brows and sweat he considered his greatest achievement, he replied
pouring off their faces in a stream of droplets. To simply, "Building an organization and holding it." It
those of us who knew Walt, it wras obvious that he had was a real accomplishment.
acted out each situation and, crude as that early anima¬ Walt had started with the amazingly talented Uh
tion was. we could visualize him up there showing Iwerks and a few friends from Kansas City, but none
how it ought to be done. of them really knew anything about animation or how
Wall's gags were intrinsically no belter than any to make a film. He had picked up one or two young
other studio's, hul they were staged belter, with more fellows working around Hollywood, but it was not
care taken to establish the situation. There was more until he was able to bring out men from the New York
concern for detail, for building comedy, for making the studios that he finally had some professionals to help
gag pay off, but, most important, for understanding improve the product. Typical of Walt, he told them
the feelings of the characters involved in the gags. The what to do right from the start.
desolation when things went wrong, the happy, bouncy Will red Jackson.4 who had come to the studio in
walk when things went right, annoyance with indigni¬ 192S, recalled their reaction. "Some of them felt he
ties, determination, scheming, fear, panic, compassion was a little rough with them at times, Wall could make
—ihese were things that could be animated 1 This was you lee I real bad when he wanted to I don’t remember
acting, and it gave the animator a chance to use his them rebelling when he told them to do it different, or
medium effectively—in liming, in caricature, and in asked for better animation . . . Walt was a very per^
action, Animation began lo come alive, and when the suasive individual and a very inspiring, person and he
audiences recognized familiar situations they began had the ability to make you want to do what he wanted
to identify with I he characters' predicaments. They you to do,”
laughed harder and remembered. These early animators were not artists as much as
When Render's Digest wanted a biographical sketch they were entertainers. But the field of entertainment
written on Walt, the magazine hired Richard Collier, is wide, and any thought that it refers only to humor is
who already had iwro successful credits in this field, very limiting Walt’s ideas of entertainment went far
one on Mussolini and the other on Captain Booth of beyond gags: he sought the new, the novel, the unex¬
the Salvation Army. While at the studio. Collier was pected. the beautiful, and the colorful situation with
asked if there was anything at all that these three men wrarmth. Instead of thinking of cartoon material as
had in common. His answer was a quick and definite being "entertaining," one might find a better concept
affirmative. "All of them had the ability to get other in the word "captivating." Audiences have to be
impressedf absorbed, involved, taken out of them¬ story points called for no analysis of anything beyond
selves, made to forget their own worlds and lose them¬ the staging of the business. It is small wonder that
selves in ours for cartoons to succeed. Walt had to find Walt started asking for realism If an arm had (o encir¬
actions that were funny in themselves yet easily recog¬ cle a large object, it merely was stretched until long
nized as something familiar, gags that were plausible enough to do the job. If Mickey was supposed to
even though very imaginative, situations that were beckon to Minnie, the shortness of his arm made the
based on everyone's experience, and characters that hand took as if it w ere scratching his nose, so the ani¬
had interesting personalities. These were the things mator simply drew' the arm long enough to get the hand
that could hold an audience, and to Walt they added clear of the head, out where the gesture could be seen.
up to one simple approach—a caricature of realism. One day, almost by accident, someone made a series
He could be endlessly innovative, exploring all facets of drawings that looked far better than anything done
of the entertainment world, as long as he remembered before. Each drawing had so dose a relationship 10 the
always to captivate the audience by making it all one preceding that "one line would follow through to
believable—by making it real. the next." Les Clark,s who had come to the studio in
"As far back as I can remember/’ Wilfred Jackson 1927, told of how amazed everyone was that just mak¬
said. "Wait wanted his drawings that were animated ing the lines flow through each drawing in a series
to seem to be real things that had feelings and emo¬ could make such a difference. Instead of the staccato
tions and thoughts, and the main thing was that the action produced by a group of poorly related draw¬
audience would believe them and that they wrould care ings. suddenly there was a pleasing smoothness that
what happened to them . r . and he used to stress led the eye from draw ing to drawing. "This was really
that!’ Ben Sharpsteen expressed it this way: ‘"I think an exciting thing that we discovered!"
that Walt was initially inspired by animation that Many problems could not then he solved. Everyone
stressed personality. The strong impression that it made knew that it was necessary to get a feeling of weight in
on him led to his desire to plus it in subsequent pic¬ the characters and their props if ever they were to be
tures This was one of the biggest factors in the suc¬ convincing, bu! just drawing a figure large has nothing
cess of our early pictures; Walt recognized the value to do with how heavy he is. A weather balloon is quite
of personality animation and he stressed it in story large. The animators sensed that the key to the illusion
development/' of weight lay in the timing and how far a character
As animation, (he work done in the twenties was moved and how fluid the action was. but it was not
undeniably crude, but the animators never failed to until they were able to study live action films that the
present the point of the scene dearly, and they chose solution finally was found. Once the secrets were
the right symbols to show the attitudes of their figures. discovered, the animators wondered why the problem
Nevertheless, there was no weight, no attempt at anat¬ had heen so difficult, but in those days the answers
omy. no shoulders or spines or bones or muscles. The had eluded them.
 If an animator's drawings finally re Hoc ted a more "Don't confuse them. Keep it simple."
natural way of moving, Walt would be likely to say, "Too much action spoils the acting."
“Your guy just moves in and he’s there. , , , I don't "Mushy action makes a mushy statement,"
see him do anything. Y'know, a guy can be funny the "Say something, Be brave."
way he does things. Look at your comedians and One man had a sign, "Why would anyone want to
clowns, they’ve all got funny ways they walk or funny look at that?” which was a constant reminder that he
timing—there’s something there. We oughta be looking should be sure he was putting something up on the
for entertaining ways of doing things. We don't want screen that was worth another person’s time or money
to get straight, y’know—-we're not copying nature!" to watch. Whenever he thought he had a great idea,
“Caricature" and "exaggeration" were two favor¬ that sign seemed to ask, "Really now, would anyone
ite words to stimulate the animator's approach to his O'ther than your mother like it?'1
scene. These words could he misinterpreted as a request Many authors have re polled that animation was the
for wild, uncontrolled action, hut that course always one thing that Walt could not do. As he himself realized
ended up with, "Look, you're not getting the idea of quite early, plenty of other artists could draw better
what were after here!" The action had to he based on than he, but none of them seemed to have his wealth
realism, had to fit the story situation, put over the of ideas or the knowledge of how a piece of business
point of the scene, and be in character with other should be presented. This gradually caused him to
things being done in different scenes. And when the give up his own drawing board to concentrate on the
animator felt he was getting close to handling that areas of his greatest talents. At one point, he set up a
correctly, he encountered another admonition. "You’re table in the middle of the animators’ room and had
trying to do too much in the scene. Nothing comes off them bring their scenes to him when they were done.
strong because the character is all over the place," Studying the action, Walt called for new drawings
An animator had to choose the best action for the where necessary and timed the scenes so they would be
spot in the picture, refine it to the simplest statement, most effective. Ke corrected staging and expressions
do it the best he could, make the drawing work for and was quick to educate those working with him.
everything he was trying to say, keep the personality- Years later, he admitted, "The fellows who work near
in the movement, use enough anatomy to he convinc¬ me catch a lot of hell!’’
ing, and do it all in an entertaining way. That really is As a matter of fact, Walt could animate as well as
nut asking loo much if one appreciates what any good any of the men he had working on the Alice series,
actor or mime has to consider constantly. But those with the exception of Ub Iwerks who was in a class by
early animators were just beginners. As one recalled himself. For five frustrating years, from the “Alices"
without malice, "It didn't matter how many times you to the more successful "Oswalds," Walt sharpened
did it over, Walt had to get what he wanted."* his own thinking while trying to educate his staff, hut
Signs were made to help animators remember what he got minimal results. Then in 1928. Charlie Mintz,
they had learned; \ the distributor of Walt’s popular Oswald the Lucky
Rabbit cartoons, took ewer ihc rights to the main char- ion, and he asked all animators to work more loosely.
acler and hired away all hut four members of Walt’s The assistant would L’clean up” these drawings that
animation staff. It seemed like a disaster at the time, looked so sloppy, refining them to a single line that
bul actually it opened the way for a new group of ani¬ could be traced by the inkers onto celluloid. The as¬
mators who would soon help animation grow into a sistants became known as "‘clean-up men,” and the
surprising art form, Les Clark commented about (he animators developed one innovation after the other,
men who had gone with Mint?,: “These animators left achieving effects on the screen that no one had thought
the studio when Oswald left and they were not the possible. In some cases, (he drawings were so rough it
group who later animated on Mickey I think (he devel¬ was difficult to find any cartoon figure inside the tan¬
opment of animation started with the Mickey anirna gled swirl of lines, and the men who made a duck ora
tors, inspired by Waifs interest and enthusiasm." dog out of smudges and scratches had to have a very
At this point. Walt’s understanding of the mechan¬ special type of knowledge.
ics of animation began to fall behind Sonic fyj{ \\\$\ Jg
Shooting ioi;i of stents while they win: in in Hu
inerdy lacked (he patience ever to master the art of rough enabled the animators to check wrhat they had
relating drawings to each other Probably he lacked the done before showing it to anyone. Any part I hat was
particular talent to see the movement in drawings as he way off could be corrected quickly and shot again,
flipped them. It is a special ability, and many of the This encouraged expert mentation, exploration, and
artists simply did not have it, Whatever the reason, as imagination, quickly promoting a closer bond among
the techniques of animation progressed, Walt under¬ the animators. This probably began when orte man
stood less and less of how it all worked, He knew the wanted to show off (he surprising results of his test,
ingredients a scene should have and what the acting hut the animators soon learned that there was greal
should be and what could be done with a scene that value in sharing ideas. And the sharing of judgment
was not quite working, but be could not sit down at a did not end wdth just viewing the test. An animator
desk and make the drawings that would demonstrate could take his drawings to any of the other men and
his ideas. It was an increasing mystery to him and, in they would happily make suggestions, showing what
some ways, an area of annoyance, since it w as some¬ had worked for them in a similar situation or excitedly
thing he could not control or shape into something considering something completely new.
new. He was forced to rely on others. 'Each generation of animators bene filed from what
This led Ben Sharpsteen to claim that, " Animation the previous had teamed by trial arid enor,” said Ren
was developed far more by the animators themselves Sharpsteen, ^nd consequently were more flexible in
than by Walt."’ This is true of the specific techniques what they could accomplish, and they could reach
that advanced the art, bu( (his advancement would greater heights.” Bul it seems that the generations he
never have occurred without Walt. As Les Clark said,
'Animation developed because of Walt’s insistence c ■ \
and supervision.” The animator had to wrestle with
(he problem of how to make the drawings work prop¬
erly, hut without Walt’s drive it is doubtful that any of
them would have tried so hard or learned what to do.
Walt introduced two procedures that enabled the
animators to begin improving. First, they could freely
shoot lest* of their drawings and quickly see film of
what they had drawn, and, second, they each had an
assistant learning the business who was expected to
finish off the detail in each drawing, Walt was quick
(o recognize (hat there was more vitality and i magi na¬
tion and strength in scenes animated in a rough fash¬
animator Bitl Tylk
—Snow White
was referring to lasted less than a year apiece. Wilfred Each director remembers at least one dismal eve¬
Jackson adds, ", . , there was always something new ning out there under the streetlights, because these
going on. We were all learning so fast/' meetings made them faec implacable reality. It was no
The standard by which the studious efforts were longer the excitement of what might he but the unde¬
judged was undeniably the way Watt initially portrayed niable harshness of what was. Wilfred Jackson never
characters for the animators. As Dick Huemer7 said, forgot the sidewalk post mortem after his first picture,
''Walt would take stories and act them out at a meet¬ The Ctfjfmray. "Walt had his hat way down and his
ing: kill you laughing they were so funny. And not just coat up around his ears/’ he recalled, "He looked like
because he was the boss either. And there it would be. a wet bird. I walked by and on the way I heard Roy
You'd have the feeling of the whole thing. You'd saying, ‘Walt, I don't know if we should release this;
know exactly what he wanted. We often wondered if it doesn't look like a Disney picture/ " They released
Walt could have been a great actor or comedian/'8 it, of course, but Jackson had learned his lesson; he
Walt always could show you exactly how the busi¬ never made another film that could he catted un-
ness should be done, but the animator was expected to Disney,
go further with the idea, to come up with something of ft was a harsh way to learn a new profession, out
his own, some touch or bit of timing or an expression there on the street at night, but it was positive and it
that would make it not only personal but special. was definite. I he audience reaction was always clear
It did not take long to answer any questions or settle and strong and undeniable. There was not so much
disagreements as to how a piece of business should be talk about what should be done next time as there was
handled. Fortunately, there was a way of settling dis¬ a dissection of what hud been done wrong on the cur¬
putes while adding to our education. As soon as the rent film, and Walt’s comments on that were as valu¬
answer print of a new' cartoon was received, the whole able as his stimulation had been in those first story
staff rushed over to the Alex Theater in Glendale to meetings.
see how it would go with an audience. The men never By 1933, the animators had learned their basic les¬
stayed for the feature film but immediately convened sons well, and they produced a film that would be
outside for an impromptu meeting on what went over loved around the world: Three Little Pigs. It started a
and why. and what had missed the mark. new era at the Disney Studio,
 Types of Action Widely Used in Early Days

tney The audience was fascinated with animation that re¬ times, the character would do something different in
P peated the same action over and over, and, since this his attempts to avoid or to conquer, but when he came
•us Cre¬ was quite a savings for the studio, several devices again to the same spot on the paper, the action of the
te- This were developed to give this result: climb, slide, or hit could he repeated.
ck Kin- The Cross-over. Even better than having the action
The Cycle. This was a series of drawings that ani¬
led (he
' senes mated back into itself by having the last drawing work repealed in a cycle was to have two or more characters
low to into the first one, ereating a continuous action that doing the same action A system called “cross-overs”
to Ride never stopped. It was ideal for walks, dances, and took care of that problem by having the inkers trace
certain 1 ‘scramble actions” as a character tried to get one drawing in two different places on the same eelh
away from something. matching it to sets of small crosses on the drawing. By
Repeat Action. Sometimes an action could he re¬ animating a tone figure going to the left in a simple
peated just as it was in a second scene, but more often dance step, the animator could get these drawings traced
a new beginning or a different ending were called for. over and over to make a whole line of dancers. At the
enter— In these cases, the animator could repeat part of the appropriate time, the drawings could he flipped over
action by borrowing drawings from the earlier scene. and traced from the back, causing the line of dancers
In other cases, there would be an action that could be to sashay to the right. If everyone liked this, it was
e draw- even simpler to shoot the cels a second time, making
repeated intact in the same scenes—a character climb¬
bottom
tracing ing a slippery pole, or sliding down an incline, or the line of dancers go through the whole procedure
osition. being knocked down by a mechanical device. Between again. The audience was enthralled and could not
underfund how we could get all the figures to act
exactly the same.
Another popular routine was to have the cartoon
figure come up toward the camera, usually until his
mouth tilled the screen, and (hen retreat to his original
position, using (he same drawings shot in reverse.
Also popular was the series of drawings run in a cycle
that animated the road as a character ran or drove
straight into the camera, This consisted of a row1 of
telephone poles in perspective, a bush or two, and pos¬
sibly some fence posts lining the road. By putting in a
MfMATDR: Woo tie Reither-
man — Funny Little
Bunnies.

Five separate cycles were

used in making the bunnies
ftII Easter baskets. The lop
fellow lifted and closed the
gate. Eggs rolled down the
chute, guided by the rabbit
at the left, and two bunnies
pulled the baskets through
in a continuous line, catch¬
ing the eggs. Two playful
rabbits at the right tossed
little candied eggs on top.
These scenes usually went
to eager young animators
wanting a chance to show
what they cun do. This one
was done by Wolfgang
'' Woolie*1 Reith erman.
who became a supervising
animator, director, and fi¬
nally, producer of cartoon
features.

few simple inbetweens, the first pole animated bac

the second and the second to the third, while one t
was moving back to become another.
The public also liked to see elaborate produe
lines for fanciful factories that made toys or Ha
eggs or imaginative products. These scenes were t
ous to animate because of all the moving parts,
there was an advantage in everything being in a c;
that could be run over and over and over—and usu
was. The same was true of the great crowd shots i
to start so many pictures. Such a scene was often
only contribution that particular animator could it
to the whole picture, hut if the scene was effect!
certainly set the mood and the locale for the w
film. That alone made it worth all the work, but it
not a favorite assignment. Just slightly belter were
long parades of marching flowers or cookies or
that were made up of cycles on long pan paper
could he pulled through the scene.
There was no movement in the figures in early anima¬
tion besides a simple progression across the paper No
one knew how to get any change of shape or flow of
action from one drawing to another, There was no
relationship of forms* just the same little cartoon fig¬
ure in a new position on the next piece of paper. One
solution to this stiffness of action was to conceive of a
figure's appendages as sections of a garden hose. Since
no one knew anyhow where bones and muscles might
be on a cartoon figure* this worked wre!l—giving great
looseness and a fluid movement. There was no sug¬
gestion of realism because the concept of the character
was Plot pine of realism. This type of movement fit the
design perfectly and brought about some funny action
with great charm.
However* it was not the type of action Walt wanted*
and he was quick to criticize. We can imagine his
reaction to the cartoon came! that Oswald has just
kicked into action:
4"Do his legs have to be so limp like that? They
don’t look like they could hold up anything.
"Get some straight tines in there, like you’ve got in
Oswald. Doesn’t that camel have a knee or an ankle?
And you've got (lie body the same all the time—he
can bend hack or forward, y'know, And get rid of
those limp noodles; get some drawing in it!"
3. The Principles of Animation
ive consider a new project, we ready study it . , . not just the surface idea, but everything about it
Walt Disney

A new jargon was heart! around the studio. Words like they were taught these practices as if they were the
"aiming " and “overlapping" and “pose to pose" rules of the trade. To everyone's surprise, they became
suggested that certain animation procedures gradually the fundamental principles of animation;
had been isolated and named. Verbs turned into nouns
overnight, as, for example, when the suggestion, “Why 3. Squash and Stretch
don't you stretch him out more?" became “Get more 2. Anticipation
stretch on him," “Wow! Look at the squash on that 3 Staging
drawing!" did not mean that a vegetable had splattered 4. Straight Ahead Action and Pose to Pose
the artwork; it indicated that some animator had suc¬ 5. Follow Through and Overlapping Action
cessfully shown a character in a flattened posture. 6. Slow In and Slow Out
Some of this terminology was just assigning new 7. Ares
meanings to familiar and convenient words, “Doing" 8. Secondary Action
a scene could mean acting out the intended movements, 9. Timing
making exploratory drawings, or actually animating it; 30. Exaggeration
and once it was “done," the scene moved on to the 31, Solid Drawing
next department. Layouts were done, backgrounds 3 2, Appeal
were done, recording was done, and, eventually, the
whole picture had been done. Mixed in with these
terms were ihe new' names and phrases with more
obscure meanings. and
The animators continued to search for better meth¬
ods of relating drawings to each other and had found a By far the most important discovery was what we call
few ways that seemed to produce a predictable result. Squash and Stretch, When a fixed shape is moved
They could not expect success every time, but these about on the paper from one drawing to the next, there
special techniques of drawing a character in motion is a marked rigidity that is emphasized by the move*
did offer some security. As each of these processes ment. In real life, this occurs only with the most rigid
acquired a name, it was analyzed and perfected and shapes, such as chairs and dishes and pans. Anything
talked about, and when new artists joined the staff composed of living flesh, no matter how bony, will
void chewed, his
m up and down,
was no matching
1 in his face or

Les Clark —
try Cousin.

er Mouse chewed
H1 years inter.
1 on the head Te¬
rn action.

show considerable movement within its shape in pro¬ the same form in a very extended condition. The
gressing through an action. A good example of this is movement from one drawing to the next became the
the bent arm with swelling bicep straightened out so very essence of animation. A smile was no longer a
that only the long sinews are apparent. The figure simple line spread across a face; it nowr defined the
crouched is obviously contracted into itself, in con¬ lips and their relation to the cheeks. Legs were no
trast to the figure in an extreme stretch or leap. The longer bent pipes or rubber hoses; they swelled as they
face, whether chewing, smiling, talking, or just show¬ bent and stretched to long flexible shapes.
? before a heavy ing a change of expression, is alive with changing Immediately the animators tried to outdo each other
'frayed in brand, shapes in the cheeks, the lips, the eyes—only the wax in making drawings with more and more squash and
ms by simply in- figure in the museum is rigid. stretch, pushing those principles to the very limits of
ckey. The result-
The squashed position can depict the form either solid draftsmanship: eyes squinted shut and eyes popped
se in volume lost
\ bus in 1928 that flattened out by great pressure or bunched up and open: the sunken cheeks of an “inhale'* were radically
aner. pushed together. The stretched position always shows different from (he ballooned checks of a blowing action:
a mouth chewing on a straw was first shown far below
the nose, and then it actually was compressed up
beyond the nose (which changed shape as well) in
showing the chewing action. Through the mid-thirties,
everyone was making two drawings for every con¬
ceivable action, and by working hack and forth be¬
tween the squash position and the stretch we found
we could make each position stronger in both action
and drawing.
 hi this early animation, the
action is well staged hut
very rigid and niff. There
is no squash utui stretch,
follow through, or feeling
of weight, These actions
had a charm and a vitality ,
hut they could not support
more than a six-minute
short.

r he be si advice for keeping ihe distended drawings

from looking bloated or bulbous, and ihe stretched

3 i"Oe Tc hb o
b &
& iuji %reu
positions from appearing stringy or withered, was to
consider that the shape or volume was like a ha If-HI led
flour sack, [f dropped on the floor, it will squash out
to its fullest shape, and if picked up by the top comers,
it will stretch out to its longest shape; yet it will never

a
change volume. We even made drawings of the flour
sack in different attitudes—erect, twisted, doubled-
over—suggesting emotions as well as actions. That
0
rt.fr rep
<LZJ Lj forced us to find the most direct way, the simplest
^nreu/t, cufi/nv i statement, for if we added any extra lines to amplify
an expression it was no longer a flour sack We found

0p- Jl
Caet
& tSUiUA^tUT
'30
fiStt M*MTTf<
thal many little interior lines were not necessary since
the whole shape, conceived properly, did it all. These
lessons were applied to Mickey's body, or his cheeks,
to Pluto’s legs, or his muzzle, or even to Donald's
head.
On the sports page of the daily newspapers we found

Th? famous htdffiliedflour

■'ii-.i. guide to maintaining

Tc
volume in any ammaiable
shape, and proof that atti-
mdes can be achieved with
f he simplest of shapes.

j
 a gold mine that had been overlooked. Here were great was to draw a bouncing ball. It was quickly rendered,
photos showing the elasticity of the human body in easily changed, and surprisingly rewarding in terms of
every kind of reach and stretch and violent action. Our what could be learned. The assignment was merely to
animation principles were clearly evident in the bulges represent the ball by a simple circle, and then, on suc¬
and humps that contrasted to long, straight thrusts. cessive drawings, have it drop, hit the ground, and
Mixed in with these contortions were examples of the bounce back into the airT ready to repeat the whole
whole figure communicating joy, frustration, concen¬ process. We could have either a forward movement
tration, and all the other intense emotions of the sports progressing the ball across the paper, or have all the
world. These examples opened our eyes and started us action take place in one spot, allowing us* through a
observing in a new way cycle of the drawings, to make the hall bounce contin¬
The standard animation test for all beginning artists uously. It seemed like simplicity itself, but through

de¬
aling his
id in front
While the
recogniz¬
or? than a
wtioti,

Ferguson

Pete does
, only now
teliy than
hishrtmd-
ie impres-
olid char-
bination of
w d fat.

T.ampbeil

slur? has
ten by this
nost a gag
ction this
jtism, bus
comedy,
 V

the test we teamed the mechanics of animating a scene

while also being introduced to Timing and Squash and Bouncing
Stretch.
We were encouraged to change (he shape of the ball
in the Easter segments of the bounce, making an elon¬ o Bal1 O
gated circle that would he easier ro see, then quickly to
flatten it as it hit the ground, giving a solid contact as
well as the squashed shape of a rubber ball in action.
o o
Ibis change at the bottom also gave the feeling of
thrust for the spring back into the air, but if we made
an extra drawing or two at (hat point to get the most
In moving the circle (repre¬
senting the ball) down and
00 have more weight if r.
drawings were closer t
back, up, it war discovered get her at the top and spac
out of this action, the ball stayed on (he ground loo
long, creating weird effects of hopping instead of
that the ball would seem to
jQ_ farther apart at the botioi

bouncing, (Some tests looked more like a jumping

bean from Mexico than any kind of ball.) If we mis¬
judged our arrangement of the drawings or the dis¬
tance between them, we created apparitions reminis¬
cent of an injured rabbit, or an angry grasshopper,
or, most often, a sleepy frog. However, many of the
circular forms just seemed to take off as if they had
a life of their own,
The beginning artists were an inventive group, and
%
Then, if the bottom drawing
was flattened, it gave (he
°
follow and gave more stu
to the action. Thus, the b
appearance of bouncing. ginrungs of Squash at
all manner of variations were tried, each revealing
Elongating the drawings on Stretch.
something about the man who had done the animation each side made it easier to
and what he considered important in the scene. Some . CTD .
men added distinction by starting with a big bounce,
followed hy shorter and shorter ones as the hall grad¬
ually lost its spring, Some put the action in perspec¬
tive lo show how well they could figure a complicated
Anticipation
assignment, or they added a stripe around the ball to People in the audience watching an animated scene
show how much it turned during the whole action. will not be able to understand the events on the screen
These men were grabbed quickly by the Effects De¬ unless there is a planned sequence of actions that leads
partment, which specialized in a mechanical type of them clearly from one activity to the next. They must
an I mac ion. Those more interested in a livelier type of be prepared for the next movement and expect it before
entertainment preferred surprise endings: the ball ex¬ it actually occurs. This is achieved by preceding each
ploding on contact, or crashing like a broken egg on the major action with a specific move that anticipates for
second bounce, or sprouting wrings and flying, off. the audience what is about to happen. This anticipa-
 may not show why he is doing something, but there is
no question about what he is doing—or what he is
going to do next. Expecting that, the audience can
now enjoy the way it is done.
The opposite of this is the “surprise gag.” which
only works when the audience is expecting one thing
to happen, and suddenly, without warning, something
ack wish entirely different happens. The surprise gag cannot
icipation
work if a different action has not been anticipated by
>iU make
the audience. Similarly, no action on the stage can be
anything but a series of meaningless surprises without
lion can be as small as a change of expression or as big anticipation
as the broadest physical action. Before a man runs, he The movements in early animation were abrupt and
crouches low, gathering himself like a spring, or. the unexpected; too often the audience was not properly
reverse, he draws back in the opposite direction, raising alerted and missed a gag when it came, This was one
his shoulders and one leg, as he aims him.se It at the of the first things Walt started to correct. He called his
place of the next activity. Before Mickey reaches to remedy “aiming” and acted out just how an action or
grab an object, he first raises his arms as he stares at gesture could be made clear so that everyone would
the article, broadcasting the fact that he is going to do see it. If Oswald the Lucky Rabbit is to put his hand in
something with that particular object. his pocket to get a sandwich for lunch, the whole body
This is the oldest device of the theater, lor without must relate to that hand and to the pocket. When the
it. the audience becomes nervous and restless and whis¬ hand is aimed, it must be ”oul in the dear” so every¬
pers, *'What1 s he doing?” The anticipatory moves one can see it and anticipate what is going to happen.

s, Wait re*
ipation a.T
*£ Oswald
t the sand¬
'd t, No one
ailed to see
he action,
The head cannot be looking off somewhere else—the
important action is Oswald's reaching into his pocket.
It is not a gag, it is not a laugh, but it must be seen. No
one should need to ask, 4'Now where did he ever gel
that sandwich?" As Walt demonstrated how it should
be done, he exaggerated the action and made it far
more interesting than the animator was ever able to
capture As Les Clark said years later, "Today it may
look simple to us; at the lime it wasn’t, It was some¬
thing that hadn’t been tried before or proved."
Few movements in real life occur without some
kind of anticipation. It seems to be the natural way For
creatures to move, and without it there would he little
power in any action To the golfer, it is the backswing;
to the baseball pitcher, it is his windup. The batter
prepares himself with a whole series of anticipatory
actions, but the one that gives the clout is the final
twist and the step forward as the ball approaches the
plate. Without that move the mightiest swring is no
more than a bunt.

Staging
''Staging" is the most general of the principles because
it covers so many areas and goes back so far in the
[heater. Its meaning, however, is very precise: it is the
presentation of any idea so that it is completely and
unmistakably clear. An action is staged so that it is
understood, a personality so that it is recognizable, an
expression so that it can be seen, a mood so that it will
affect the audience. Bach is communicating to the
fullest extent with the viewers when it is properly
staged.
The most important consideration is always the
"story point." It has been decided, for example* that
a certain piece of business will advance the story;
new, how should it be staged? Is it funnier in a long
shot where everything can be seen or in a close-up
featuring (he personality? Is it better in a master shot
with the camera moving in, or a series of short cuts to
different objects? Each scene will have to fit the plan,
and every frame of the film must help to make this
point of the story.
[f a "spooky" feeling is desired, the scene is filled
with the symbols of a spooky situation. An old house,
wind howling, leaves or papers rustling through the
 >■ V.

AiVIMATOK; Art Li at hi St
—The Country Cousin.

Only do one thing at a

time: one of the most im¬
portant rules of the theater.
The country mouse, tipsy
from fancy food and drink, r-
is standing on a slice of y
toast and tries to act non¬ i > V
chalant. He flips his um¬
brella in the air, places it
in position before leaning
on it, and even holds the
position briefly before the
umbrella breaks through
the toast.

j iJ
( l 7 '
/ x\ ■
■. i

animator: Fred Moore KT* i

— Snow White, -• i i\t ' ■•Ov‘ V fj
i ■/; U "
Dopey uses his foot to tem¬ V . ! s I 1
porarily stifle the sneeze of -V_V V v k
the dwarf beneath him,
This complicated situation
easily could become diffi¬ f > ] .A \
nV ^
cult to understand if not
properly staged. \

k > 1 Z, A
2r staging in an early of gray to soften the contrast or delineate a form.
"key by Ub Iwerks. Mickey's body was black, his arms and his hands—all
rything is out in the black. There was no way to stage an action except in
n where ii cart be seen;
ring is confused or tan- silhouette. How else could there be any clarity? A
t up in lines or shapes. hand in front of the chest would simply disappear:
black shoulders lifted against the black part of the
head wfould negate a shrug, and the big, black ears
kept getting tangled up with the rest of the action just
when other drawing problems seemed to he solved.
Actually* this limitation was more helpful than we
realized: we learned that it is always better to show the
action in silhouette. Chaplin maintained that if an aclor
yard, clouds floating across the moon, threatening sky* knew his emotion thoroughly, he could show it in
maybe bare branches rattling or scraping against a silhouette. Walt was more direct: ''Work in silhouette
window* or a shadow moving back and forth—all of so that everything can be seen clearly. Don’t have a
these say '"spooks.” A bright flower bed would be out hand come over a face so that you can't see what's
of place. happening. Put it away from the face and make it
If yon are staging an action* you must be sure that dear.” Constant redrawing* planning, and experi¬
only one action is seen; it must not be confused by menting were required to make the action look natural
drapery or by a poor choice of angle or upstaged by and realistic while keeping a clear silhouette image
something else that might be going on. You do not We had to find a pose that read with both definition
make drawings just because they are cute or took fun- and appeal.
ny. You make the drawings that will stage each idea in
the strongest and the simplest way before going on to Straight Ahead Action
the next aetion. You are saying in effect, '"Look at
and Pose to Pose'
this—now took at this—and now this,” You make
sure (he camera is the right distance from the character There are two main approaches to animation. The first
to show what he is doing. If he is kicking* you do not is known as Straight Ahead Action because the anima¬
have the camera in close on a waist shot. If you arc tor literally wrorks straight ahead from his first drawing
displaying your character's expression* you do not in the scene, He simply takes off, doing one drawing
do it in a long shot where the figure is lost in the after the other, getting new ideas as he goes along,
background. until he reaches the end of the scene. He knows the
Magicians say they prefer to work close to the peo¬ story point of the scene and the business that is to be
ple they are fooling because it is so much easier to included, but he has little plan of how it will all be
direct attention to any desired spot. When an individ¬ done at the time he starts. Both the drawings and the
ual works alone on a big stage it is too easy for the action have a fresh, slightly zany look, as the animator
audience to watch his feet, what is behind him, his keeps the whole process very creative.
clothes, any unnalural movement; the spectators might The second is called Pose to Pose. Here, the anima¬
be looking at everything except what the magician is tor plans his action, figures out just which drawings
trying to show them. As a director* Dave Hand empha¬ will be needed to animate the business, makes the
sized the value of the close-up shot: "’By its use we are drawings, relating them to each other in size and action,
m: Fred Moore. and gives the scene to his assistant to draw (he inbe-
able to eliminate from the mind of the audience any¬
far staging with the atti* thing that is less important than the particular point we t weens. Such a scene is always easy to follow and
'f shown in silhouette, A works well because the relationships have been care¬
arc putting over at the time.'"
id test of the clarity of
The animators had a special problem of their own. fully considered before the animator gets too far into
drawing is to shade it
The characters were black and white, with no shades the drawings. More time is spent improving the key
drawings and exercising greater control over the move¬
ment. With Pose to Pose, there is clarity and strength.
In Straight Ahead Action, there is spontaneity,
Both methods are still in use because they each
offer certain advantages for different types of action.
Usually they are combined in a way that keeps the
Straight Ahead Action from getting out of hand The
scene is planned with a path of action laid out, and
rough drawings arc made depicting the character's
probable progress; although none of these will be used
later in actual animation, they still serve as a guide for
size, position, attitude, and relationship to the back¬
ground. They offer as much control as might be needed,
even though some animators feel that the very lack of
control is the element that gives the spontaneity. They
say: L The animator should he as surprised as anyone
at the way it comes out,Most wild, scrambling actions
are probably more effective with this method than with
too much careful pre-planning.
Straight Ahead Animation will seldom work if there
is strong perspective in the layout or a background that
must be matched. One man animated a dog jumping
excitedly and turning around, trying to attract atten¬
tion While he achieved a funny action with much
spirit, it could not be used because he had failed to
match the action to the limitations of the layout. There
was no way to tell how high the dog was jumping
since he never really contacted the ground, and the
relationship of the drawings was thrown off by the
perspective he had failed to consider. With a flat back¬
ground and a clear arena in all directions, there would
have been no problem.
However, many pieces of acting require a different
approach. H Mickey Mouse is discouraged, he turns
away, jams his hands far dowrn into his pockets, looks
back over his shoulder one last time, kicks a stone out
of his path, and walks off. This must be done with
Pose to Pose because each of the positions must be
handled carefully for maximum clarity, appeal, and
communication. They should be W'orked over separately
and together, until they do their job as efficiently as
possible Once these poses relate well to each other, it
is a simple matter to time the intervening drawings and
to break down the action.
Another element that should be considered in choos¬
ing the method of animation is Texture. ” A series of
 AWHATicw: Retther- actions all with the same intensity and amount of
man—El Gaucho Goofy. movement wot I quickly become tedious and predictable
Ejo rn/ifc a/ "Straight It will have no punch. Bui if the overall pattern con¬
Ahead" animation. The tains accents and surprises, contrasts of smooth-flowing
s animator is often as sur¬
actions with short, jerky moves, and unexpected tim¬
'H. prised as anyone at the way
the scene ends up. ing f the whole thing becomes a delight to watch. Obvi¬
ously, this is impossible to attain with Straight Ahead
&L Action. Using Pose to Pose, the texture in the variety

d i
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of the movements can be planned and the action de¬
signed to make this a part of the total statement.
J- The first animators to use Pose to Pose were inter-
ested in a quicker result and were not aware of its
brilliant future. They were more concerned with the
geographic locations of the characters than any poten¬
tial tor entertaining actions. "The guy is over here,
then he gets his hat, then his cane' he looks to see if
his wife is watching, he does a hop, then runs out the
door. Six or seven drawings, a whole bunch of inbe-
ji- -,':' tweens, and I’m through with the scene!” When han¬
dled that way, with no attempt to relate one pose to
another, the scenes were bound to be wooden and
jerky. It was not until the development of stronger
poses, improvements in timing, more skillful use of
Secondary Action, and, finally, the Moving Hold, that
-'cV
- ,. Pose to Pose animation ultimately came into its own

It

V
Follow Through
and Overlapping Action
When a character entering a scene reached the spot for
his next action, he often came to a sudden and com¬
plete stop This was stiff and did not look natural, but
nobody knew what to do about it. Walt was concerned,
"Things don't come to a stop all at once, guys; first
there's one part and then another." Several different
ways were eventually found to correct these condi¬
tions- they were called either 1 ‘Follow Through” or
"Overlapping Action” and no one really knew where
one ended and the other began. There seemed to be
five main categories.
1. If the character has any appendages, such as
long ears or a tail or a big coat, these parts continue
to move after the rest of the figure has stopped. This
is easy to see in real life. The movement of each
must be timed carefully so it will have the correct
feeling of weight, and it must continue to follow
through in the pattern of action in a believable way,
no matter how broadly it is cartooned.
2, The body itself does not move all at once, but
instead it stretches, catches up, twists, turns, and
contracts as the forms work against each other. As
one part arrives at the stopping point, others may
still be in movement; an arm or hand may continue
its action even after the body is In its pose. (Peg Leg
Pete's belly continued to bounce and sag intermi¬
nably.) In order to put over the attitude clearly, the
head, chest, and shoulders might all stop together.
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since this is the part the audience should see (the trailing behind in an action is sometimes called
part that registers how the character is feeling). Then ’'‘drag,* and it gives a looseness and a solidity to
a few frames later, the rest of the parts would settle the figure that is vital to the feeling of life. When
into their final position, possibly not all at the same done well, this technique is scarcely detectable as
time. When the whole figure has come to a stop in a the film is projected. In effect, the animator is draw*
definite attitude, this is called a ‘ held’1 drawing. Ing in the fourth dimension, for he is depicting a
Some of the animators thought we were getting figure the way it would he at only that precise
too fussy, but that was only the beginning as Walt moment The drawings are not designed to be viewed
saw new possibilities in the work his men were by themselves, hut only in a series projected at an
doing, Les Clark said writh a chuckle, *\ . r we established speed.
couldn’t understand sometimes why he was giving Many comic actions have been based on this prin¬
us hell for something we thought was acceptable. ciple, as the fat on a running character drags farther
Then later on we knew what he was talking about T and farther behind, until the ultimate occurs: the
skeleton runs off, leaving the flesh to fend for itself.
3. The loose flesh on a figure, such as its cheeks or This type of exaggeration will bring laughs in the
Donald Duck's body or almost all of Goofy, will shorter films, but the chief value of this kind of
move at a slower speed than the skeletal parts. This Follow Through lies in its more subtle uses.

i moves
of real-
irawing
action,
ilyfeit.
4, The way in which an action is completed often more entertaining the action itself could he, or what
tdls us more about the person than the drawings of it could tell us about the character's personality.
the movement itself, A golfer takes a mighty swing,
which covers only a few frames, hut what happens to 5. Finally, there was the Moving Hold, which em¬
him afterward can easily take five feet of film and is ployed parts of all the other dements of Overlapping
much more revealing, whether he is graceful and Action and Follow Through to achieve a new feel¬
slick in his follow through, or wraps himself up in a ing of life and clarity. When a careful drawing had
knot. The anticipation sets up the action we expect been made of a pose, it was held without movement
(oris it the action the character expects?), the action on the screen for a few1 frames—at least eight, maybe
whizzes past, and now we come to the “punch line’1 as many as sixteen. This was to allow1 the audience

of the gag. the follow through, w hich tdls us w hat time to absorb the attitude. That amounted to less
happened—how it all turned out. Obviously, the than a second, but it was enough. However, when a
ending should be considered part of the entire action drawing was held for that long, the flow of action
before any drawings are made, but, amazingly, the was broken, the illusion of dimension was lost,
ending was hardly ever developed in early anima¬ and the drawing began to look flat. A way had to
tion. It was enough just to do the reach, the throw, be found to “bold“ the drawing and still keep it
the kick, and no thought was given to how much moving!

£
 The answer was to make two drawings, one more Arcs
extreme than the other, yet both containing all the
dements of the pose. It was explained this way: Very few living organisms are capable of moves itial
“You hit the pose, then drift on beyond to an even have a mechanical in and out or up and down preci¬
stronger pose—everything goes further, the checks sion. The action of a woodpecker might he an excep¬
go up, the ears fly out. the hands rise: he goes on his tion. and, because of the restrictions of an external
toes, his eyes open wider* hut essentially he's still skeleton, there are undoubtedly some examples in the
in his pose/’ Now wre could use the Follow Through insect world, but the movements of most living crea¬
on the fleshy parts to give us the solidity and dimen¬ tures will follow a slightly circular path. The head
sion, we could drag the parts to give the added feel¬ seldom thrusts straight out, then back again; it lifts
ing of weight and reality, and we could strengthen slightly, or drops as it returns. Perhaps this has to do
our poses for more vitality. It all added up to more with weight or maybe with (he inner structure of the
life in the scene. The magic was beginning to appear. higher forms of life, hut, whatever the reason, most
movements will describe an are of some kind.
Slow In and Slow Out
Once an animator had worked over his. poses (the
“extremes") and redrawn them until they were the
best he could do. he naturally wanted the audience to
see them, lie timed these key drawings to move quickly
from one to the next, so that the bulk of the footage of
the scene would he either on or dose to those "ex¬
tremes.” By putting the inhetweens close to each
extreme anti only one fleeting drawing halfway be¬
tween, the animator achieved a very spirited result,
with the character zipping from one attitude to the
next. This was called Slow In and, Slow Out. since that
is the way the inhet weens were timed. Too much of The action of a hand gesture with a pointing finger follows
this gave a mechanical feel to the action, robbing the circular path. The animator charts she position of his draw¬
ings along this ore. He mokes his key drawings, indicating
scene of the vers1 life that was being sought, hut it was
where inbe tweens should he placed to keep the line of action
still an important discovery that became the basis of on this arc. inhet wee ns done without following this arc
later refinements in timing and staging. change she action radically.
Walt continued to ask us to analyze the actions more
carefully, and to understand how the body worked, This discovery made a major change in the type of
since that was the only way to get the caricature of movements animators designed for their characters,
realism he wanted. "Our work must have a foundation breaking with the rigid and stiff actions that had gone
of fact in order to have sincerity. The most hilarious before In a walk, the characters had popped up arid
comedy is always based on things actual.” down like mechanical gadgets on an engine; now they
One animator from outside the studio was "amazed "arced'’ over at the top of their steps and "arced’’
that anyone would he that interested in the mechanics under at the bottom position. A hit or a throw could be
of motion," but (his unique approach was the very on a completely straight line, but the beginning of (he
heart of our work. Marc Davis summed it up, "Dis¬ action came sweeping in on an arc and the Follow
ney animation is just very different. Nobody. I don't Through started a corkscrew action.
care who he is. can come from the outside and draw a As this principle was better understood* scenes were
Disney character without a full understanding of what plotted out with charts and dots, as well as rough
it's all about/’ poses, to determine just how high and how tow the
character should go in any action. Arcs were sketched "rolled" on (he pegs that the proper location for the
in, as the key actions were planned, to guide the even¬ drawing becomes evident. No one has ever found a
tual drawings along this curved path. When the final way of insuring that the drawings will all be placed
drawings were being made, more ways would become accurately on the arcs, even when experienced people
apparent for the character to go even farther in the are inbetweening the action, and it is one of the most
action, especially using Squash and Stretch and Over¬ basic requirements for the scene. Drawings made as
lapping Action to good advantage. straight in bet weens completely kill the essence of the
One of the major problems for the inbetweeners is action
that it is much more difficult to make a drawing on an
arc than one halfway between two other drawings. Secondary Action
Even when the position has been indicated, or a stern
warning written on the extremes, "Watch arcs!" there Often, the one idea being put over in a scene can be
is a strong inclination to pull hack toward a more fortified hy subsidiary actions within the body, A sad
normal inbetween. It is only as a series ol' drawings is figure wipes a tear as he turns away. Someone stunned
shakes his head as he gels to his feet. A flustered continued to change and adjust until all pans of the
person puts on his glasses as he regains his com¬ drawing w'orked together in a very natural way.
posure. When this extra business supports the main It is advisable in any case to try it all in ihuinb-
action, it is called a Secondary Action and is always nails—little exploratory sketches—before doing anv^
kept subordinate to ihe primary action. If it conflicts thing else, lo make sure that everything will stage well
or becomes more interesting or dominating in any way, and will look as convincing as the animator had hoped.
it is either the wrong choice or is staged improperly. When used correctly. Secondary Actions will add
The chief difficulty lies in making a unified state¬ richness lo the scene, naturalness to the action, and a
ment through the drawing and timing of separate, but fuller dimension to the personality of the character.
related, parts. If the sad figure has an expression on
his face that should be seen, the hand wiping the tear Timing
must he carefully planned to support (hat look. A
broad, overwhelming gesture with a fist covering half The number of drawings used in any move determines
Ihe face would hardly be acceptable. Still, if the action the amount of time that action will take on the screen
is too subdued, it will be mushy, restricted, and incon¬ If the drawings are simple, clear, and expressive, the
sequential; if it is too strong, the face will never be story point can he put over quickly, and ihis was all
seen. Should this Secondary Action be made to work that concerned the animators during the early period.
with the features so that the expression is actually Timing in those cartoons was limited mainly to fast
emphasized, the scene will be outstanding. moves and slow moves, with accents and thrusts call¬
Sometimes the Secondary Action will be the expres¬ ing for special handling. But the personalities (hat wore
sion itself. Suppose there was to be a change from a developing were defined more by their movements
painful hurt to a helpless, bleak look as the character than their appearance, and the varying speed of (hose
turns away, before he wipes the tear. The danger now movements determined whether the character was
is not that the expression will dominate the scene but lethargic, excited, nervous, relaxed. Neither acting nor
(hat it never will be seen. The change must come attitude could be portrayed without paying very close
before Ihe move, or after, and must be staged so that it attention to Timing.
is obvious, even though of secondary importance. A The complicated relationships that came with Sec¬
change in the middle of a major move will go unno¬ ondary' Actions and Overlapping Movements called
ticed, and any value intended will be lost. for extensive refinements, but even the most basic
One animator found the proper relationships among moves showed the importance of Timing and the con¬
all these parts through a "building block" technique.3 stant need for more study. Just two drawings of a
First he animated the most important move, making head, the hrst showing it leaning toward the right
sure that it worked the way be wanted, communicating shoulder and the second with it over on the left and its
his thought an the strongest way. Then he went through chin slightly raised, can be made to communicate a
the scene a second time animating the Secondary multitude of ideas, depending entirely on the Timing
Action, and even once more if necessary', to make the used. Bach in between drawing added between these
rest of the drawing relate to those two actions. He two "extremes" gives a new meaning to the action.
 No inbet weens THE CHARACTER bus been hit fast action on "twos” had more sparkle and spirit than
by a tremendous force. His the same action with inbet weens, which tended to make
head is nearly snapped off. (he Timing too even and removed the vitality,
One mbetween . . . has been hit by a brick, Any time there was a pan move in which the charac¬
rolling pin, frying pan. ter’s feet or a point of contact with the background
Two inbetweens . . . has a nervous tic, a mus¬ were shown, the action had to he on "ones55 to match
cle spasm, an uncontrollable the moves on the pan, or there would be slippage
twitch. which looked peculiar. Similarly, if the camera were
Three in be (wee ns . - . is dodging the brick, roll¬ moving in any direction (which must be on. “ones'1},
ing pin, frying pan. there would be a strange jittering unless the character's
Four inbet'weens . . . is giving a crisp order, actions were on “ones5' also.
“Get going!** “Move it!5' When more elaborate actions were called for and
Five inbetweens , , . is more friendly, ‘‘Over more delicate changes had to he seen, the animators
he re." *1 Come on—hurry!+* resorted to the use of “ones’ "—sometimes throughout
Six mbelweens . , . sees a good-looking girl, the scene and otherwise only in certain places. A
or the sports car he has always scramble action or speed gag, a sharp accent or flurry
wanted. of activity, the pay-off after a big anticipation, all
Seven inbet weens . , „ tries to get a better look at needed “ones." But the choice was stilt difficult to
something. make if the animator had no! gone through a period of
Eight inbetweens . - . searches for the peanut but¬ experimenting and trying, and failing and trying again.
ter on the kitchen shelf. Only then did he build up a hack log of experience that
Nine inbetweens . < , appraises, considering would guide him through these perpetual decisions.
thoughtfully.
Ten inbet weens , , . stretches a sore muscle. Exaggeration
The persistent question, especially from the New There was some confusion among the animators when
York men was, "When do you use ‘ones' and when Walt first asked for more realism and then criticized
do you use twos'?” This referred to the number of the result because it was not exaggerated enough. In
frames of film to be shot of a single drawing. One Wall's mind, there was probably no difference, He
exposure was called ■'ones,1* two exposures ‘Twos/5 believed in going to the heart of anything and develop¬
it had long been known that for most normal action ing the essence of what he found. If a character was to
there was no need to make a new1 drawing for every be sad, make him sadder: bright, make him brighter;
frame of the film. Each drawing could occupy two of worried, more worried; wild, make him wilder. Some
the precious frames, and the audience would never of the artists had fell that “exaggeration” mean! a
delect it at 24 frames a second. This saved immense more distorted drawing, or an action so violent it was
amounts of work and in the slower movements gave a disturbing. They found they had missed the point.
smoother appearance to the action. More than that, a When Wall asked for realism, he wanted a earica-
tune of realism. One artist analyzed it correctly when he wait for the film to come back. I put it on the Moviola,
said. "1 don't think he meant 'realism.' I think he Wall came and ran it a few times, then stepped back
meant something that was more convincing, (hat made and looked at me, 1 thought he was going to tell me to
a bigger contact with people, and he just said realisin’ leave the studio, but he said, 'There. Dave, that's just
because 'real' things do. . . . Every so often |in the what I wanted!’
animation! the character would do something uncon¬ "It taught me what to do at the Disney studio. From
vincing, or to show how clever the animator was, anti then on I never had any trouble with exaggeration.
it wasn't real, it was phony/'1 Walt would not accept When 3 was directing I used to say to the animators.
anything that destroyed believabilily, but he seldom 'Will you do something for me? Will you make il so
asked an animator to tame down an action if the idea extreme that you make me mad?' "
was right for the scene.
Dave Hand told of a test he had dime of Mickey
riding along in his taxicab, whistling, with everything
on the car rattling and bouncing. When they came to
the corner* the car skidded and blew out a tire, at
which point the car sagged, the license plate twirled
over and landed with its numbers upside down and
spelling "Oh, heck.’ Dave was sure that was a laugh,
and he was careful to stage it so that it could not be
missed. Evidently he had not considered the whole car
as carefully, for Walt complained of the lack of action
and asked him to do it over. The next test received (be
same reaction, "It’s not broad enough; it's not fun¬
ny!’’ Six times Dave corrected the action, erasing and
redrawing until he was nearly through the paper, and
still Walt did not feel the action was spirited enough
for what he wanted.
At that point Dave got fed up, "The only thing \
knew to do was to do something he wouldn't take—-to
make il so extreme that he would say. 'I didn't mean
that much!’ So l went back and did something horribly
distorted. I was kind of proud of myself and couldn't
Solid Drawing
The old-timers were hard pressed to keep up with the
demands of the new type of animation. More than one
top man counseled the beginners, "You should team
to draw as well as possible before starting to animate.1’
Grim Nat wick,- whose animation career started in
New York in 1924. pointed out, "The better you can
draw, the easier it'll be for you. You'll have to draw
the character in all positions and from every angle; and
if you can't do it, and have to stage >1 from some other
angle, it’s very restrictive and takes longer." Marc
Davis was more philosophic a few years later: "Draw¬
ing is giving a performance: an artist is an actor who is
not limited by his body, only by his ability and. per¬
haps, experience." Too many of the men, old and
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new, were fuEE of tricks and techniques that had looked

great in cartooning school hut did nothing for them
at the Disney studio. The little shadows under the
toes of the shoes, the slick line, the flashy verve of
clothing reacting to violent exertion—all these devices
that had impressed us in high school were of little
use anymore,
Signs were hung on many walls where the young
trainees would he sure to see them, and the one we
remember best was this: “Does your draw ing have
weight, depth and balance?’*—a casual reminder of
the basics of solid, three-dimensional drawing. Men
had devoted their whole lives to the mastery of these
elusive principles* and here was this sign about as
pretentious as one that said, “Buy Savings Bonds,”
or pointed to the nearest exit.
Another sign admonished us to watch out for
l'|wins" in our drawings. I bis is the unfortunate situ¬
ation where both arms or both tegs are not only paral¬
lel but doing exactly the same thing. Mo one draws would never think of expressing an emotion with twins
this way on purpose, and usually the artist is not even anywhere, but, somehow, in a drawing, if you’re not
aware that he has done it. This affliction was not lim¬ thinking, it creeps in time and again,”
ited to the thirties, for again in the seventies young Our main search was for an “animatable" shape,
animator Ron Clements was annoyed to find “twins” one that had volume but was still flexible, possessed
in his drawings no matter how- hard he worked to keep strength without rigidity, and gave us opportunities for
them out. “It was one of the first drawing principles the movements that put over our ideas. We needed a
that I heard of at the studio. If you get into acting, you shape that was a living form, ready to move—in con-
 trast with (he static form. We used the term “plastic,”
ympathetic and just the definition of the word seemed to convey
:l appeal in the feeling of potential activity in the drawing; “Capa¬
jut villains
ble of being shaped or formed, pliable.’1
iauld have
ppeal in the
fascinating Appeal
tes a person
tuny draw-
Appeal was very important from (he start. The word is
often misinterpreted to suggest cuddly bunnies and
soft kittens. To us, it meant anything that a person
likes (o see, a quality of charm, pleasing design, sim¬
plicity, communication, and magnetism. Your eye is
drawn to the figure that has appeal, and, once there, it
is held while you appreciate what you are seeing, A
striking, heroic figure can have appeal. A villa!ness,
even though chilling and dramatic, should have appeal;
otherwise, you will not want to watch what she is
doing. The ugly and repulsive may capture your gaze,
but there will be neither the building of character nor .artist.- Marc Dcivts—Sleeping Beauty.
identification with the situation that will be needed.
There is shock value, but no story strength.

The parallel lines: of the pipe or hose gave no chance

for solidity or dimension.

WAf.Fi bens, instead of having weight or strength, it

was only a linear design,

Adding flesh increased the volume without giving a

fluid, active potential.

In nature we see forms in balance. ready to move

in any direction, Few fluid forms are completely
symmetrical, and the contrast in form and shape
makes an active type of balance. One side can he
straight while she other bellies out w ith the relaxed
weight, or they can both bend or stretch or tw ist or
turn—it is always possible to make a drawing then
is solidr round, pliable, and in balance. We call A weak drawing lacks appeal A drawing (hat is
these forms “plastic** ns opposed to “static/’
complicated or hard to read lacks appeal Poor design,
clumsy shapes, awkward moves, all are low- on appeal.
Spectators enjoy watching something that is appealing
to them, whether an expression, a character, a move¬
ment, or a whole story situation. While the live actor
has charisma, the animated drawing has appeal.
 Young people, excited about the great successes ten out when you get too close on it. We are attempting
achieved with line drawing, are always perplexed to to overcome that nowr, with a new dye process, bat it
hear that delicate refinements are not possible in tins will be some time before it's perfected.” (It never
medium. They recall scenes of great beauty and pic¬ was,)
tures with strong emotions and cannot sec that there is Many great effects are possible, but too often they
any problem in communication. But the problem is cost more than [he average production can afford. The
there, in every scene and every day. Since the medium constant battle is to find the elements that will look
lacks the subtle shadow patterns on the face that can best in this medium and still allow the strongest com¬
reveal the shades of character in a person, we must munication of the idea presented. A drawing must be
concentrate on the acting or the story structure. Deli¬ made in line, duplicated on cels, painted in Hat colors,
cate expressions can be misinterpreted, to everyone's photographed over a background, anti projected onto a
confusion, and attempting too much refinement can giant screen. Tiny, sensitive lines on the drawings are
make the drawing so restrained or involved (hat no now enlarged until they are more than a foot wide, and
communication is possible. Only simple and direct very, very black. In the mid-thirties, we wished for
attitudes make good drawings, and without good draw¬ shading, for textures, for areas with no outlines, but
ings we have little appeal. they were not practical We had to find other ways of
The whole idea of trying to communicate feelings putting over the points in the scenes, and in so doing
with mere lines does seem ridiculous at times. There is developed character animation into a communicative
always (he temptation to get in close so the audience art that astounded the world. But at [he time there was
can really see how the character is reacting, hut the neither glory nor pride in our efforts, only the nagging
close-up presents the greatest problems, Dave Hand limitations. As we passed each other in the hall, we
said, in 1938, when questioned about the advisability shook our heads and shared the thought, a crude
of using extreme close-ups: “The face begins to flat¬ medium.”
Peier Pan
4. Discovery 1934-1936
7 definitely fed that we cannot do the fantastic things hosed on the real, unless we first know the real. r
Walt Disney

The mid thirties was easily the must thrilling period

for the Disney animators. It was a time of explosive
growth for the whole studio, bui the exploring and
experimenting ami discovery created an excitement
never quite matched again.
Just because we had named one of the new princi¬
ples of animation did not mean that we understood it
or grasped ihe extent of its possibilities- Constant study
and searching had brought us that far. and more study
was the only way lo keep advancing. Walt secured
movies from other companies for us to see at the stu¬
dio alter hours, and he told us of the great vaudeville
acts (o see whenever (hey were in town. Everywhere
we went and everything we did became something to
study' for timing, staging, humor, personality traits,
movements, action. One animator bought a 16mm
camera when they first came on the market, to photo¬
graph his own resource material and study it frame by
frame. It put him ahead of the others immediately,
since he was able to create new.- actions beyond our
understanding, art school. Life drawing was useful, hut it did not go Art instructor D
Don Graham,1 top instructor at Chouinard's Art In¬ nearly far enough or fast enough. Don soon was spend¬ muj hired to rai
stitute, was brought out one evening a week to improve of the animators
ing more time studying than teaching, as he tried to
(he drawing talents of the staff, At first it was just keep up with Walt’s enthusiasm.
regular life drawing, hut it was not long before Don Walt realized that the animators leaching the an
came under Walt s intensive drive always to get some¬ were the ones who shared his desire to achieve higher
thing better. He wanted Don to become the outstand¬ standards, and in 19.16 he pul out this memo: 1 We
ing authority on line drawing in the country. He wanted plan on installing night classes on action analysis
his men taught things you could not find in any existing immediately. I intend to have some of the best anima-

How does the anii

the character
think?
tors la Ik to these men and discuss with them Timing, films showing baseball pitchers and golfers, but soon
[and] means of obtaining certain effects. . . r in this we could see it in more general activities. Any person
way I hope to stir up in this group of men an enthusi¬ starling to move from a still, standing position, whether
asm and a knowledge of how to achieve results that to start walking or pick something up, always began
will advance them rapidly.” Now we were coming the move with the hips.
hack (wo and three nights every week either to talk or Don Graham eventually did become the leading
to listen. There were also guest speakers from outside authority on line drawing, but only a man of his
the studio, hul, while (hey were stimulating and en¬ patience, intellect, and calm determination could have
riched our general background, we did not get as much lasted through those classes. He would shake his head
from (hem in a practical way as we did from our own in disbelief at the comments from all sides as he tried
”experts.” As Les Clark said, ”1 learned more from to educate masses of imaginative, enthusiastic artists.
working with the fellas, and from Walt.” Don always had a cigarette in his hand, hut it was hard
The memo continued: "I also intend to have Don to recall his lighting one. In our memories, his ciga¬
Graham study our better animation, so that he will be rettes were never over three-quarters of an inch long
able to analyze things for the younger animators.” (getting shorter by the minute), and the smoke clung
More work for Don, and this in addition to the classes to his hand and went up his sleeve. There were no
he was conducting on action analysis from live-action ashtrays up on the model stand where he generally
film clips. He selected single actions on short pieces talked, so he never seemed to have a place to put out
of film and ran these backward and forward endlessly the smoldering tip, moving it adroitly from one set of
while discussing every observation tie had been able to pinched fingernails to another. We found ourselves
make. Our eyes flickered in sync with the slow shutter engrossed in these amazing displays of agility instead
speed on the projector, but we were fascinated. of Don’s carefully chosen words.
One piece of film showed a horse in a stow canter When some of the animators were pressuring Wall
turning a half circle to his left, Don went to elaborate to let them change Mickey's eyes so that more delicate
lengths to prepare us for this film, explaining how the expressions could be handled, Walt asked Don to bring
horse had to lead with his left foot to keep his balance. it up in his class to sec what all of the fellows thought.
“If he led with his right, the support would come too It was a difficult night for Don, since he had never
late for his weight, and he would fall over.” Then he pretended to inject himself into the actual work of
ran the film, and to everyone's surprise—and Don’s animation, and he found himself trying to control a
horror—the horse was running in a left turn with a spirited discussion between authorities of varied opin¬
right lead. Ken Anderson2 burst out impetuously, ions and even more varied personalities. Some felt
"Hey, Don! The horse is wrong!” Too many nights the audience would never accept the new design and
with too many classes were getting to Don, but he would wonder what was wrong. Others claimed that
stoically kept on. Actually * he made a better point in people would never notice. Some felt it would be all
our minds than he would have otherwise, for any right to try it for just one picture and see what happened.
horseman knows that a horse can lead with either foot As the talk became more heated, one man quipped,
on a turn. However, his rhythm and balance will be "Why don’t we just change one eye at a time?”1
better using the one that matches the direction he is Many of the animators resented the constant push
turning, and we had to know- that also. toward more realism in every action. To them, pulling
Our most startling observation from films of people over the gag, the business, the strong pose, was all
in motion was that almost all actions start with the that was needed to be entertaining. The rest was just
hips; and, ordinarily, there is a drop—as if gravity frills. But the new types of pictures called for actions
were being used to gel things going. From this move, that had to be analyzed carefully if they were to come
there is usually a turn or lilt or a wind up. followed by off. There was a famous scene in The China Shop that
a whiplash type of action as the rest of the body starts was talked about for years. The story was simple; an
to follow through. This was evident first in sports old man has a china shop, and when he leaves at night
(he figurines come to life. But (he scene of the kindly Through those days, the pictures we made reflected
old shopkeeper taking a Iasi look around, then opening the wide range of concepts Walt was exploring. One
the door, walking through it, and closing i! behind him film concentrated on dances and the geometric pat¬
was quite a change from the broad gags and actions in terns dancers made when seen from above This had
the earlier films. The action not only had lo be con¬ become a popular camera angle because of the musi¬
vincing, it had to have character. The old man had cals live-action studios were making; it was felt we
little personality, but he had to be old and kindly and might do it belter, but the audiences did not agree with
some what reminiscent of someone out of a Dickens us. We dealt with fantasies, gags, musicals, dreams,
novel. adventures, personalities; the titles alone suggest the
1 he animator was determined to gel a shuffling walk, variety of subject matter; The Flying Mouse, Lullaby
a hent posture, and. a feeling of age in the movements. Land, Mickey 's Pal Pluto, The Pied Piperr Thru The
He did not want this man to reach far. lake big steps, Mirror, The Klondike Kid. Many of these were not
or in any way appear to be athletic or strong. The successful, but Walt analyzed the reactions and tried
layout man had drawn a door on a wall that had a true something else. There seemed no end to his ideas, hut
storybook feeling, but, unfortunately, the doorknob the best response from both his staff and the audience
was on the far side of the door, a long distance from was to his talent for developing personalities. It per¬
the elderly shopkeeper. He had to walk over close meated his thinking on almost every venture.
enough to reach out easily and grasp it. But this left
him standing directly in the path of the door, which for
some reason opened inward!
Two years after this, the animator would have run
hack to the Music Room and screamed about the
restricting layout, "Why does it have to be at this
angle7” "Why does the door open in instead of out?"
How am I supposed to gel him through this door?"
Hut this option had not been considered at the time of Wall had always loved trains, with their almost
Vte China Shop. That animator, with great determina¬ human engines, and as early as 1929 he had one of
tion. attacked the problem from an action standpoint, them featured in the film Mickey's Choo-Choo Ben
probably hoping secretly that he would show everyone Sharpsleen had the assignment of animating the new
how well he could analyze the situation, The door character, "Walt was not content to have a small engine
opened four iitches and hit the gentleman's foot. He as a prop; he wanted to give it personality, in the
stepped back in a casual, shuffling manner He opened storyr, the engine came to a grade where it was having
the door another four inches only to find that it had great difficulty making headway, and with much puff¬
bumped against his other toot. Again he stepped hack— ing and steaming it squatted down to the ground in
another tour inches. Now the door was against the first fatigue. Miekey Mouse, the engineer, tried to prod it
l not once more. There was no way he could step back into action, and the engine tried to put forth a final
lai enough into the scene to dear this door, and the effort. The pistons were animated to represent arms
farther he hacked up the more problem there would be
in walking around the obstruction to gel outside, where
he had to be by the end of the scene. So as the film
rolled by, the poor old man shuffled about endlessly as
the door gradually opened enough for him to reverse
his steps and struggle into the night, It was a comedy
of errors on everyone's pun , but the animator bore the
brant of the kidding more than the director or the
layout man. There W'as much to be learned.
and hands; they reached out and grabbed the rails as a had to get a counter idea in a hurry, look around and
person might grab a rope to pull himself along.tL This see his answer, quickly convert it into something that
was more than just a matter of personality, it was the fit his predicament, then pull the gag by using it
whole idea built on character relationships that could successfully.
be animated. Mickey had a dear attitude, there was Of course, the potential for having a character really
something he was trying to do, and the engine offered appear to think had always been there in the routines
all kinds of opportunity to the imaginative animator. that Walt had envisioned, but no one knewr how to
A character was never placed in a scene unless he accomplish such an effect. It was not even realized
had a definite reason for being there. He had funny how much such an addition would increase the audi¬
business, gag material, dialogic something to make ence’s enjoyment and involvement in the pictures. That
him interesting, and, usually, something that showed alt changed in one day when a scene was animated of a
who he was and how he felt. Otherwise, he was not dog who looked into the camera and snorted. Miracu¬
shown, Walt never left a scene at (he continuity level; lously, he had come to life! Walt was quick to appre¬
he made something out of it or reworked the story at ciate the difference and so was the audience. The year
that point. As these ideas became stronger, the cutting was 1930 and the animator Norm Ferguson.4
and staging of the scenes became more important. With the gradual advancements in our skills, the
Decisions as to where to have the camera, how far way was open for Walt to explore a whole new con¬
back to be, who to have the camera on, when to he on cept; that of telling a complete story. The earlier films
someone else—all the facets of filmmaking became were made up of gags and had followed a situation or
important to the little cartoon. Prom a novelty, we predicament through to the end, but there was never
were coming of age in the picture business, an attempt to capture an audience's interest through
'The use of real personalities for the characters had the story itself. Now Walt wanted to sec if his staffs
come about slowly as the better type of comedy and ability to present a simple but complete story could
gags developed. At first there were just general types hold up, for that would open great new fields to us. It
with the traditional connotations from the comic strips; was a step forward for story, but a huge leap for ani¬
big and lough, small and quick, fat and jolly, thin and mation. Could we sustain a character, keeping him
miserly. The gags called for attitudes, expressions, a consistent and believable for seven minutes?
certain amount of thought or consideration here and Even more suprising to everyone at the time was
there, but no need was felt for personality as expressed Wall's desire to build pictures around the ideas of
in walks, reactions, motivations, or thinking. The audi¬ tenderness, the lullaby, someone in trouble, sympathy
ence was drawn into the picture through the types of and sacrifice, the fairy story. These were concepts that
gags and sprightly business; there was no necessity for none of his story men would ever have thought of doing,
anything more. People were delighted by cycles and and most certainly none of his competitors, hut once
other tricks to make the impossible look plausible. again Walt's intuition was right. Stories with heart and
Prior to 1930, none of the characters showed any warmth brought the greatest audience involvement, a
real thought process. Although Mickey had replaced response far beyond that for pictures built only on
Oswald he was doing the same things, and the only gags.
thinking done was in reaction to something that had The biggest difference—and the gamble—was that
happened. Mickey would see it, react, realize that he these films would have to be taken seriously. Cartoons
heretofore always were intended to be funny. Would deadly in animation than explanations of who the char¬
the theater patrons accept this new genre , or would acters are and what they are doing there, followed by
they laugh at our crude, presumptive efforts? How far more discussion of what they are going to do about it!
could we expect them to follow us? We searched for the entertaining situations inherent in
Fortunately, the audience was more than ready for the story or in the personalities that could be developed.
Wall's type of entertainment. Even in the grim days of One perfect example was the first Mickey cartoon
the Depression, when anything like a fairy talc would in color. The Hand Concert. It introduced the amateur
seem completely out of place, he had one success after barnyard musicians giving an open-air concert to an
another—not every picture, nor really even half of appreciative audience. The story was buili around the
them, but enough to show us the way to go and encour¬ music being played and the heckling of Donald Duck,
age Walt in his ideas on communication. an ice cream salesman who wanted to play the flute.
It was apparent that more than mere continuity was There is no explanation of who anyone is or how
needed in presenting a full story. An old favorite like Mickey acquired a band, so there is no need for lengthy
Babe* in the Woods, using the Hansel and Ore tel continuity scenes. It is not the type of picture that
stories, needed quite a bit more to make it entertaining needs a strong personality huiId-up, so it takes right
in this new form. We quickly learned that a drab off with entertaining business, and each and every
retelling of any story or an emphasis on continuity and scene is packed with entertainment.
exposition was the wrong way to go. Nothing is more The Pointer has very little actual story and few gags
V “ -■ V ME I ’TV ? .

SR
V
■
f.
If i 1 i v.‘
 hut is built almost entirely on personality. In fact, it did not give him a crisp appearance but did make him
represents the peak of Walt’s feeling for Mickey and feel comfortable and relaxed. The camera was set up
has dialogue development that is so specific for this so far away from Walt that our image on the film was
character that it never would fit Donald or Goofy or very liny, but still it captured the essence of his acting.
anyone hut Mickey. One simple scene of Mickey read¬ While the animator nearly went blind trying to chart
ing lo Pluto from a book on how to train hunting dogs, the timing and to sketch from the action, it paid off in
a longer shot of their camp in the woods, and that is all a memorable little sequence that reflects Walt’s think¬
anyone needs to know- about the situation. There is ing completely.
link continuity, once again, and each scene is in the At the point in the recording where he said, lTm
picture because of its entertainment potential. Mickey Mouse, , , . Y'know? Mickey Mouse?” Wall
Mickey's reaction to seeing a bear right before him instinctively reached out with his hand to denote the
is pure "Disney,M unique, spontaneous, fresh, and height of a little kid. It was the only lime we ever
funny. No one bul Wall would have thought of that knew just how big Walt considered Mickey lo be, In
dialogue, or stretched out the situation to so much spite of the help it gave us, he never let us pul a
footage, or expected the animator to sustain the pre- camera on him again; and years later, when we wanted
dicamenl with nothing but personality. But what per¬ to look at (bat film once more, it had disappeared. No
sonality! This is no ordinary, ”Qh, Hi, Mr, Bear.” one knows what happened to it.
Right from the first nervous gasp of recognition, while The use of design and color and beauty in our films
he is struggling to gain his composure, he is the Mis¬ was beginning to change their appearance dramatical¬
souri farm boy living out a fantasy. '"Oh. , . . If s you ly, bringing the artwork closer to storybook illustra¬
, , . that is, it is you—ain't it? I mean, isn’t it? Uh, I tion. The arrival of artists who were better draftsmen
though! you were Pluto, but you're not Pluto. . . , meant that the studio could dispense wilh the (ricks
You're you, aren’t cha? Uh , . . well, I’m Mickey and techniques that had brought the films this far and
Mouse, , . . Y'know? Mickey Mouse? I hope you've embark on a more am bilious course. Mood began lo
heard of me—I hope? , . This gave the animator play an important part. Wei I-designed long shots are
strong changes of attitude and texture in the acting that exciting to see, and if they can establish a special
are seldom found in normal dialogue. locale and build a mood at the same time they are
Walt had been so funny in the story meetings acting invaluable. They reach immediately into Ihe viewers'
out Mickey's confusion that we asked if we could imagination, involving them in your pictures before
shoot a film of him as he recorded the lines. Mickey ’s you have barely begun.
voice was always done by Walt, and he felt the lines We were helped in this by what we could do with
and (he situation so completely that he could not keep both sound effects and music, Sound makes you think
from acting out the gestures and even the body atti¬ of your own experiences, which opens up a whole new
tudes as he said the dialogue. This was before he had range of symbols for communication. Night sounds,
worked in front of a camera, and he was reticent. crickets and frogs, eerie wind, blustery wind, rain on a
Doing a good job of recording the voice with all the w indow or on the roof of a car—all work in our mem¬
shading and timing and expression that were required ories and immediately establish a mood. Music can do
was enough creative effort for anyone, especially when even more to arouse our emotions; and, while in the
restricted to an unnatural falsetto voice for Mickey. early films sound was spotty and reminiscent of a
Walt was skeptical of live action at that time and not small band in an orchestra pit, music quickly found its
too sure of how we would use it. hut our enthusiasm way to a more artistic use through stirring themes that
won him over. Reluctantly he agreed, but with restric¬ literally transported the audience into our make-believe
tions: 'LWe!I, . . if you keep the camera in the booth— worlds.
not out on the stage, mind you—and if I don't know The Layout Department had been slow to develop,
when you're doing it; and, , . . ” On that day, he wore probably because there had been little call for the art¬
his baggiest clothes and his favorite old felt hat, which istry later brought to the films, and possibly because
Wall was not aware at the time what g<x>d layouts table tigures m Geppetto’s house and detail after mem¬
could do. There had been no dramatic settings and not orable detail throughout the whole picture. A way had
even a layout that matched the scope of ideas seen in been found to do it.
the action. There was a lack of character in the draw¬ By 1916* a new type of picture was becoming pos
ing* with one house looking like another, all trees sible. Technical skills were advancing and a new cam¬
looking alike, and the final painting so gently tinted era was being built that promised wonderful illusions;
that it hardly could he seen. No one knew yet how to animation of rain and clouds and lightning had im¬
support the personality of an actor through the han¬ proved to the point that they were quite convincing;
dling of his surroundings. The actor had to make his cartoon colors were beginning to glow; and new styling
way alone. coordinated all of a film’s parts into one unified con¬
By the time of the Three Little Pitfj, Walt was cept. When these achievements were combined w ith
beginning 10 look for entertaining ideas in a charac¬ the ability to portray mood on the screen, a true mile¬
ter's locale* and he loved to tel! how the artists had stone in the development of the animated cartoon
drawn pictures of boxers and sports figures on the resulted; / he Old Mill, Academy Award winner for
w alls of one foolish pig’s house, and pictures of girls l Shi7, With no story other than the reaction of various
in the next, while the practical pig had photos of animals to one stormy night in a broken down mill, the
Momma and Papa. This was a beginning, but few film showed that an audience could be swept up by
people saw that touch in the background while watching sheer artistry and become deeply involved in an ani¬
all the interesting action in front of it Six short but mated film,
busy years later, the audience was seeing the unforget¬ Walt had not been so successful in his attempts to

I
establish new frontiers in other areas., notably in the animator Grim Norwich
animation of human figures. He called for cartoons — Cookie Carnival.
about Persephone in the Goddess of Springt a charm¬
ing sugar cookie girl in The Cookie Carnivaly a win¬
some stuffed doll in Brisker: Toys„ and an excitable,
greedy monarch. King Midas, in The Golden Touch.
The cookie and the doll were acceptably feminine, but
the whole world is highly critical of a less than perfect
representation of a pretty girl. The animator's draw¬ animator Grim Natwick
ings and the movement they depicted were admittedly —Broken Toys.
far from perfect.
King Midas proved to be unacceptable as well,
although there was at least one moment when his feel¬
ings came across to the audience so strongly that a
momentary sensation of empathy was created. The
trouble here was not so much with the animation as
with (he story, which had not been wrorked out with
nearly the care that was customary. It made Walt real¬
ize that "Story , . . must be considered the heart of the
business/’ He continued, “Good animators can make
a good story a knockout. There is not much that the
best animators can do with bad stories/'
Walt's feeling about stories generally always had
been to get the entertainment first and then find ways
to tie it all together, Chaplin had gone even further in
this direction, making extensive use of printed cards to
set up his predicaments: “Seasick,” “That night/'
“He finds a friend/’ “Lost”—and then lie had gone
right to the heart of what was funny m the situation.
Wall felt the same way; he wfas not interested in get¬
ting from “here” to “there,” only in what happened
to the character once he wras there.
Another frontier giving trouble was that of voices,
Walt's original feeling seemed to be that cartoon char¬
acters should have cartoon voices, something different
and as far from a natural voice as the drawings were
from real animals or people. He had found a duck’s
voice in a radio comic,5 a singing chicken in an ex¬
opera songstress, and-td^staff volunteered more unex¬
pected sounds. Animator Fred Spencer could talk
through a gargle that seemed appropriate for a fish—or
at least some underwater character—and Ollie Johnston
could talk with the bleating of a sheep, hut no use was
ever found for that particular talent.
As the stories became more sincere, the casting for
voices took a new direction. Now the search was for
 too; everyone did. There had to be more to it than that.
As he thought about it, Ben decided that the key ingre¬
dient must be “realism.” In his own experience, he
had found that much of the material in cartoon films
was lost on the viewers; they could not understand it
or relate to it, Walt had bridged that gap with realism,
or a caricature of it. His situations were understanda¬
ble, clear, and funny. His personalities were based on
someone you knew.
As the studio grew, Walt had increasing (rouble
keeping track of everything that was being done, so he
placed more of the burden on his two directors. Happi¬
ly, he found that he could turn out more product this
way w hile still exercising just as much control At first
he had called (hem “ story men,” because their job was
to see that the story elements were preserved. They
just grew into their jobs rather than being appointed
with any ceremony, because of the need for making all
the action sync to the beat. First it was Wilfred Jackson,
32. KNKFJJNG s i nee re voices, real voices, not the trained voice of the who never even really was hired. (He had asked if he
■edson, Les stage but the completely natural voice of the boy and could come in just to learn. ) Then Walt added Bert
ohnny Can*
"it Bert Gil-
girl next door. In Cookie Carnival and Broken Toys, Gillett, who had come out from New York with some
£. Ted Sears the voices were so commonplace that the animators reputation and experience.
Wait, Norm could find no gestures or attitudes to caricature. Straight Eventually, when Bert moved on to other work.
tick Lundy,
voices demand straight action, and the artists simply Wall moved up the forthright and ambitious Dave
(background
row- Clyde could not make the characters come alive, But Walt Hand, who had a talent for getting things done. By
"onimi, Ben was not worried. He felt sure they would get it on the this time, the responsibilities of the director were begin¬
'i Churchill, next picture! ning to expand. He became the hub from which all
n, and Albert
There were changes in audience tastes, too, which other functions radiated. He had to follow every last
low Wilfred
raring Tom became more sophisticated, more accustomed to bet¬ detail through every department, to make sure (hat the
ies as a gag). ter animation and more realistic presentations. People finished film wrould faithfully reflect the ideas that had
Webb Smith were expecting higher quality now and looked to us originated in the Story Department. To do this, he had
chiliJ, Gibes
* TrCmaudttn.
for extremely convincing characters. One historian, as to have imagination, patience, drive, diplomacy, and
gh Hennesy, he tried to trace the growth in Walt's thinking, asked, endless creative ideas.
Charlie Phil- “Would it have been possible to create another char¬ The director's office was called the Music Room in
acter as broad as Donald Duck by the end of the the early days of sound because the musician had his
thirties?” The answer was unanimous: “No one wanted desk and piano there. Later, when music acquired a
another Donald Duck at that time,” We had grown broader role and the musician gol a room of his own,
up. the name not only persisted but came to suggest the
Christopher Finch in his book. The Art Of Walt whole function of preparing the work for animation—
Disney, told a story about Dick Huemer meeting Ben even after there were more directors and “Music
Sharpsteen on the street after Ben had gone to work at Rooms” than there were musicians.
the newly successful Disney Studio. Dick asked him, The easiest times for the director were when he was
“What's the secret over at Disney's? What do you told exactly what he was supposed to do. His most
guys do that’s different?” Ben answered simply, “We difficult moments came when his instructions had been
analyze.” Dick responded that his people analyzed. vague or he had misinterpreted Walt’s remarks at a
meeting. The latter was easy to do, since Walt had a sonal involvement, the animator would only illustrate
way of avoiding a positive commitment when he was another person's ideas, and that is as barren an assign¬
riot quite sure in his own mind, His usual method eU ment as anyone ever had. Walt had been most explicit
such limes was to bolster the director’s confidence, about the necessity for * 'getting the animators into the
sell him on the glories of the sequence, fill the air with spirit of the picture, and not making them feel outsid¬
exciting genera titles, then duck out while everyone ers just executing something worked out hy someone
was suit elated. It was not until hours later thEii anyone else.'"
would realize there had been no real resolution. The Dave Hand explained the whole business of the
stronger directors, such as Have Hand and Wilfred handout this way: "Our entire medium is transference
Jackson, would not let Walt leave the room that way, of thought. The thought is created first in the mind of
but they would push him to the point of annoyance the story man , . . then transferred to the director, who
until they were positive that Walt knew and approved attempts to transfer it to the animator. This is where
of exactly what they were going to do. Another direc¬ the big problem of transference comes, because the
tor might simply work ahead stoically, hoping that animator then attempts to transfer it piclorially. He
Walt would drop in later writh clearer instructions, but takes it out of the intangible, and places it in tangible
realizing all the time that his position wms precarious form, in picture, for transference baek to the mind of
and his responsibilities enormous. the audience , , , and picture presentation is clearer
The animator received his scenes from the director than any other means of transferring thought from one
in a special session called "the handout’' (or "'pick¬ person to another."
up'). This meeting could stretch out over several days At another time, Dave was not so poetic. "We can
as the director explained how he wanted the scene talk until we are blue in the face in the Music Room,
done, ideally in a way that captured the animator's but the animator thinks entirely a different picture.”
imagination and excited him about the scene’s poten¬ No one really knows what another person’s understand¬
tial—while keeping him on the right track, In the days ing is,, and the difference in conception can be unbe¬
when scenes were only gags, a description of the action lievably wide. A director on a live-action picture can
typed on ihe bottom of a story sketch was all that was work with the actor and see what he is going io do.
needed, and the handout consisted of dealing these out The actions can be altered, refined, changed, or ques¬
like playing cards to whichever animator was free to tioned, and the results judged on the spot. In anima¬
work. But when the scenes were expected to build tion, there is no way of knowing ahead of time how
character and utilize personalities to tell the story, the scene will look. Perhaps the animator has a clear
printed instructions failed to convey the message. With¬ picture, but he can be fooled, too.
out wide-ranging discussions with the director and per¬ As more and more animators were added to the
staff, there was an increased need for training on one
hand and control on the other. Many systems were
tried, and for a while there was a category of '"junior
animator” to denote someone making a contribution
but limited in w^hat he could do. The problem was how
to go about teaching those who still had much to learn.
With several sequence directors on the same picture it
was already difficult to maintain either the quality or
the characterization that Walt was seeking. The answer
seemed to tie in giving more responsibility to the
stronger animators, and the job of Directing or Super¬
vising Animator was invented. Wralt never liked titles,
so these men were never sure of what they were, only
what (hey had to do. (Continued on p&gefi4)
 SWEATBOX

Walt had to have a way to see the animation before it so much to the making of the films that a standard
we tit into his pictures. He could Hip the scenes and film-cutter's viewer made by the Moviola Company
study (he drawings on the pegs* but the only way he was purchased. This bad an enlarging lens, and two
really could tell how they would look was to have the people with their heads pushed close together could
drawings filmed. This was known as a "pencil test*" watch at the same time.
and it gave both Walt and the animator a chance to When the new addition was made to the studio in
study the action and make corrections before the scene 1931, the space under the stairwell was saved for a
was inked and painted, place to see the pencil tests. Prior to that, the men had
Ub Iwerks had devised a way to look inside an old shielded the lens from the light by their coats or their
projector while the film was running, eliminating the hands, or by placing the machine in a corner and hang¬
need tor a screen and viewing room, and the men ing a curtain from the ceiling. This kept the area dark
stood in line to see the effect of their drawings on film. enough, but made very cramped quarters for the two
It was not long before this innovation was contributing or three people squeezed inside. That was nothing
compared to the new little dosel under the stairs. Get a nervous head on Doe to “WHO'S A , . ." he
By [his time, as many as five or six people would is mad at the start and you have him calm down too
check (he scenes together, as Wall showed what he much.
liked about the work in a scene; or, more often, what As Grumpy says "AW SHUT UP" have Doc jump
he did not like. It was inevitable that someone would back (just a little) in a fighting pose, dropping his
refer to the enclosure as a "sweatbox." Then as more fanny and gening a stretch in the legs. . . . ge[ a
men were hired more machines were needed, and these spring in his kgs and fanny wiggle (as Walt demon¬
were placed where they could do the most to speed up strated) while in the fighting pose.
production—[he space under the stairs was no longer Sweatbox notes such as these were taken down by
convenient enough. The old term prevailed, however, the Music Room secretary, and it was no easy job.
and as scenes were cut together mlo whole reels of Explicit as they sound* the discussions that ted up to (be
pencil tests, the animator went to "sweatbox" when final decisions were full of alternate possibilities and
he saw his scenes with the director. From there, it was attempts to find corrections that [he animator under¬
a small step for the term to become a verb. Even stood and liked. No one talked slowly enough for
though by 1934 there were two full-fledged projection complete notes to be recorded, and much of the termi¬
rooms with air conditioning and comfortable chairs, nology was in words no one new to (lie business would
animators asked* "Have your scenes been sweatboxed use. While the secretary- was trying to rephrase the
yet?" or sometimes said, "1 belter not have a beer for thoughts so her notes would be clear, she would hear
lunch, they're sweatboxing my stuff today." Walt saying. “Yeah, I think that’s your best bet . . .
In these sessions, the purpose is to be sure that y’know? . . . like we talked it there ... do it like that
everything is working, whether it is the acting, the and well see how it looks . . . whaddya think?" and
action, or the stage directions. If [he scenes are good* she wot]Id know that one of the ways hud been agreed
more business may be added to make them even bet¬ upon. Which one?
ter; if ihev are wrong* changes are called for* but To anyone not in the meeting, the sweatbox notes
always with an eye to saving as much as possible of made no sense whatsoever; and to those of us who had
what has been done. Animation is expensive* and the been there it was still a mystery most of the time, since
morale of the animator is critical to a good result. (he unfortunate secretary- had gone through her notes
Still, Ham Luskc,6 the first supervising animator, al¬ and tried to use her own memory for the parts she
ways cautioned the young artists, "Never make a small thought she understood, to make it all mean some¬
change. When (hey ask for a change, they're thinking thing. If she was questioned about some of [hese rather
of a big one . . . something that will really make a persona] decisions on her part, the norma! response
difference; otherwise they wouldn't mention it." was, "Well, you were there, weren’t you?" said in a
Walt knew what made a scene play and could explain thin, piercing* and slightly threatening voice.
it to the animator so that he would understand. There Walt gradually turned over the "rails and bolts" of
were many times wrhcn Walt was undecided on w-hat making everything work properly to the directors, and
direction to go, hut once he saw a scene of animation devoted his own time to the bigger ideas. This did not
he could quickly analyze why the action was not as mean that he lei things slip by or did not notice what
emcriaining as it should have been. The following each man was doing. Noi at all! He merely realized
excerpt from sweathox notes da led March 2b, 1937, that if he told a supervising animator or the director
show how minutely he went into each scene. Phis w-as how- he thought a particular thing should be, (hey should
Fred Moore's animation of Doc and Grumpy arguing be able to see that it was done that way. After all* he
about whether Snow White should be a guest in their had trained us carefully over the years by going ovci
house: every last frame in each scene -not once, hut maybe
Sc 24B Shoot a eorr. ruff fifty times—until we had all seen clearly what was to
launch Doc's poking Grumpy more. be done*
on in The animators saw Wall at the story meetings where tants and in bet wee tiers, not so much as a competition
•,i Jack- he acted out everything us it should be, and then again but so ihey could learn to talk over the difficulties and
T. Hee;
in “sweatbox," when they showed him the scene as observe the variety of solutions. One favorite assign¬
hyJoe
I, Ben they had animated it. In between times, the directors ment was a tug-of-war between Goofy on one side and
ice. discussed with them what actions would be used, Mickey and Donald on the other. Ben wanted to see
argued about how to stage them, howr long the scenes the rope taut, the feet planted squarely on the ground,
should be, and how best to do the business. The ani¬ hands and arms thcit carried the strain of the pulling
mators learned from each of the directors, and anima¬ right into the bodies, heads (hat reflected the effort,
tion nourished. and an overall arrangement that showed clearly what
In 1934, when the big expansion began, there were they were doing. In addition, he suggested that it would
three directors. Inhere had been more work than Wilfred be good if the whole thing could be made entertaining,
Jackson and Dave Hand could handle, and someone with some fresh slant on the staging or the wray each of
was needed who could develop the talents of the them was participating in the action.
younger men being hired nl that time, men with ability
but no practical experience in cartooning or commer¬
cial art. Ben Sharpsteen was chosen for this assignment
because he was always worried and concerned and
dedicated to the studio. He projected a father image
and tried to raise his fledglings like his own children,
counseling the to on everything, from which car to buy Many animators were still doing straight ahead ani¬
to which comedian 10 study. mation at this time, and it had a greater appeal to the
Ben was conservative and made us work on funda¬ young and eager than the more thoughtful, disciplined
mentals until we were on firm ground before we could “pose to pose'1 me I hod. The danger, of course, was
go ahead. He gave draw ing problems to all the assis¬ lhal no one stopped to make a solid drawing that had
everything in it. The animator kept thinking, "The But Dave knew enough to recognize quality, and if
next drawing will have it—all the character and the Walt said, "Let’s get that into the picture." Dave
action and the funnies and the straights and the good would make sure that it got in and just that way. If
drawing, You'll be able to see what he's doing in this Wall said, "We can save money here; let's keep the
very next drawing, . . . ” eosl down," Dave would use every shorten! in (he
The next drawing was just as weak, as was the one book. He never confused his own views or ambitions
after that, because a good drawing is not made casual¬ with Walt's, and he never questioned Wall’s authori¬
ly. especially while the artist is thinking about some¬ ty. He tried to protect Walt from getting swamped
thing else—in this case, how to get the figure from with details, anil he tried equally to protect the anima¬
one place on the paper to another, Ben Sharpsteen tors from too many interruptions. He liked to see things
knew this alt loo well, and he knew the only cure for wor king in a productive fashion, and he was not afraid
the mushy, indecisive action that inevitably resulted to do anything that might be needed to achieve that.
was for us to work over each drawing, strengthening These qualities made him a very good director for
and clarifying, until the drawing problems had been Walt, and later an excellent Production Manager. From
solved, before we went ahead with anything. Dave we learned courage and integrily and an aggres¬
WiIfred Jackson (Dave Hand called him Willie but sive approach to our work.
wrote his name LLJason’ * once, and it stuck as a nick¬ When Wralt was deep in thought he would lower one
name with the rest of us) taught us thoroughness and brow, squint his eyes, let his jaw drop, and stare fix¬
the importance of detail. He had an immensely crea¬ edly at some point in space, often holding the attitude
tive grasp of his whole picture and what he wanted it for several moments. Unfortunately, he did (he same
to do. but his big strength was in the astounding atten¬ thing when he appraised you prior to explaining a
tion he gave to every last detail. Every frame of each new assignment or admonishing you for not getting
scene was carefully considered and made into some¬ the idea he was presenting—or worse, when he had
thing valuable; the animator was never at a loss to just noticed some quirk or mannerism in the way you
know what should be done in the footage he had been did things, something he could exploit ai a later date if
handed. If you had a belter idea, Jaxon was all for it. he chose to. It was unnerving to be caught in that
but until you did he provided you with some very good intense stare, and we never knew whether the seruti-
material to animate. Jaxon was easily the most crea¬ mzation was because he was thinking of some new
tive of the directors, but he was also the most 1'picky" way to get us to do something he wanted, or if we
and took a lot of kidding about his thoroughness. were merely accidentally in the path of a preoccupied
Dave Hand’s major contribution was in keeping up gaze. Many limes we would look up casually during a
the quality of the work while organizing the proce¬
dures, forcing decisions, and keeping it ail moving in
(he direction Wall said he wanted. He took on the job
of making Walt's dreams and vague feelings tangible,
and to do this he constantly had to try to pin Walt
down to specifies. But Walt often changed his mind,
and this led to some heated arguments. I le confided
otice that Dave would storm into his office "white
with rage. He'd grip the edge of my desk until his
knuckles turned white. . . . I’d keep the desk between
us." Then Walt would get a twinkle in his eye. and we
knew that he enjoyed seeing Dave this concerned about
(he product and was not being unsympathetic. As Dave
had admitted to him earlier. "I can't function until I
get mad!1 It svas an interesting situation.
 a little confident after a successful meeting and would
try making a few kidding remarks about Walt, This
rash decision was quickly regretted as Walt, wiih light¬
ning response, made the culprit look utterly ridiculous
—in a matter of seconds and in a very funny way.
Suddenly the tables had been turned, and everyone
was laughing at Wall's comments delivered at the
expense of the man who had started it all. Ward
Kimball' said, "No one ever got the best of Walt in
any exchange, kidding or serious. Those who tried
were cut to ribbons.'*
Through alt these days, Walt was constantly plagued
by money problems and by distributors who took the
lion’s share of the tiny profit from his creative efforts.
He always felt that the way to wdn in this type of battle
was to "‘beat them with product," to make films so
good that the world would heat a path to his door. Ben
Sharpsteen told of a 1929 conversation with Walt:
"He was determined that he would no longer be de¬
pendent on a distributor or a victim of his chicanery. "
The important thing was to improve the product,
because audiences would respond to a better film. He
did not believe in cutting comers to save money if it
hurt the quality nor would he turn out a cheap product
provided meeting to find to our surprise that we were being just to make money. Instead of looking for (he maxi¬
as the su- studied intently. No words could break the spell, and mum profit, he was looking for the maximum audi¬
ran Snow
being unsure of (he meaning of the look it was inad¬ ence response.
ip! Perce
treat obit- visable to say anything anyway. So we squirmed, Even so, he was watching his pennies very careful¬
r develop- smiled weakly, looked thoughtful, stared back, pre¬ ly. Anyone not working at the studio found this hard
rhe seven tended not to notice, or nodded wisely as if in tentative to believe, since it was obvious that doing a scene over
motive in-
agreement, until Walt suddenly burst out with some¬ three and four times was more expensive than doing it
thing like 11 Why don't we have Pluto gel mixed up in once. Reaching for new achievements, trying things
this skating business, too?1* that had never been done before, asking more of his
He expected everyone to work as hard as he did, staff than they knew how to do—all this cost money.
and to be as interested and excited about what we were Anti Walt knew- ii, hut he chose to spend what money
doing He never spared feelings, because his interest he had in those very areas, figuring that he could save
was in the product and not in who had the best idea or someplace else. For example, simplifying the concept
who had made a poor suggestion or expected applause. for a whole picture would make it less expensive:
We were all in it together, and the fellow who went off eliminating costly scenes, extra characters, crowd shots,
on his own, developing an idea that Walt had not anything that took more time or more work for the
approved, was asking for trouble, and received it. same result. Too many characters in a story not only
Almost any comment about the material being con¬ runs up the cost but divides the audience’s interest. It
sidered was acceptable as long as it was offered in takes away time needed to get the most out of the
good faith, but it was a different story if anyone tried main characters, who are supposed to be the most
to get in a personal dig about either the product or interesting anyway.
Walt's methods. Sometimes an individual would feel Changing his procedures, using his men differently.
 Gagman and voice latent
Pinto Cafvig performs for
artist Albert Huner, Pima
was the voice of Pluto,
Goofy. Grumpy, and
Sleepy, as well as miscel¬
laneous crickets, bugs, and
fish.

using more cycles, more repeat action, careful use of material; it was fell that any weakness would show up
staging and cutting and field siz.es to emphasize the farther down the line, or new ideas for strengthening
entertain men I and eliminate everything else—these and building would become obvious once the first ani¬
were the areas in which he saved. The new ideas, the mation was done, Walt was as guilty of this as any¬
better pictures, the things that paid off with an audi- one, but he still put out a memo staling, “Very
ence, and even the training of his staff—this is where thorough preparation of the story in the Story Depart¬
he spent every nickel he could get. We were asked ment plus the follow through of the story man with the
many times to find more economical ways of working, director , . . in the handing out and in the planning of
but never to compromise the quality of the product.
Wall was not making works of art to hang in a
gallery. He was striving purely for entertainment, and
there were many ways of doing that: it could be in the
story, Ihe personalities, the visual excitement, innova¬
tions, situations, unexpected twists, beauty, mood, a
spirit of fun, or just comic movements. If one part
became loo expensive, perhaps it could be balanced
somewhere else with something that cost less but was
just as effective,
The biggest saving proved to be one that started in
the Story Department. If the work was carefully pre¬
pared there, it would flow through the plant at record
speed, Too often a storyboard would be approved just
because no one quite knew what else to do with the
fc5
/
 ■Jv

%V■ ^■ i

1
V, i
J
_ S

89
the action in the Music Room . . . will do a lot to experienced wTitcrs, to his regular staff, and he was
eliminate lost motion on the part of the animators also discovering great talents within the ranks. Perce
caused by animating a scene two or three times because Pearce, who had once ghosted the comic strip The
ihe action was not planned out properly in the first Captain and the Kids, had been moved out of label ween
place." And again, ". .. we would find that doing after contributing one gag after another to the Story
I he preparatory work in the beginning is a very small Department. Once there, he showed an exceptional
expense in comparison to having to do it when the feeling for personality coupled writh ihe ability to act
picture is in animation." out the traits that would work best for animation.
His brother Roy kept cautioning Wall about spending Pence was one of the first story men to add the little
more than they were getting for the films, but Wall’s unexpected touches of character and business that
attitude was, "Roy, you get the money, and we ll make enriched the films and made I hem so memorable. One
the films!” However, the time came wrhen there simply section of the picture might tell its idea well and fit
was not any more money to be had for a cartoon short. into the story nicely, but it could still be barren and
Roy pleaded with the rest of the staff, "Hey, look, cold. Perce would immediately start weaving his touches
fellas, you've got to work on Walt! He's got to stop of warmth through the actions and the personalilies—
spending so much money!’1 (Years later Wall was mak¬ nothing big or important, just little things that added
ing The Magnificent Mr. Toad and suggested a line of charm and appeal. It might be a bit of acting or perhaps
dialogue for Me Badger: "Somethin's got to be done a colloquial phrase in the dialogue, or it even could
about Toad! He's spending to-oo much money!")14 be a few additions to the background that would make
Walt had a different answer to this predicament, the locale more decorative, more special, more imagi¬
according to Dave Hand: "If we put 10 ol these 700 native.
foot shorts together, we've got us a feature—7000 There was also Pinto Colvig, ex-circus clown, enter¬
feel. Now they won't pay us but 15 thousand lor a tainer. clarinet player, who had joined the staff a few
short, but for 10 of these, that would be 150,000, and years earlier contributing story ideas, voices, and funny
surely we can get more than that for a feature!" Dave ways of doing lhngs. Stimulating visual suggestions
does not remember if Roy fainted at that bit of finan¬ would be needed for the feature film Walt had in mind:
cial wizardry or not. But he does remember his own Snow While, In production management, there was
feelings: "There was no other way he [Walt] could Dave Hand with his great ability to organize and man¬
stay in the business. He would not sit still and make age, along with his creative ideas. The directors had
cartoons at 15 thousand dollars. " proven their capabilities, and in layout there were the
Whatever his reasons, it seems now that it was inev¬ outstanding artists Hugh Hennesy and Charlie Philippi,
itable that Walt eventually would attempt a feature- followed by Tom Codrick.
length animated film. His cartoons had become popular Walt would need the best action he could gel for
in the theaters (Mickey Mouse was known around the Snow White herself, and this meant careful planning
world), and he was gaining confidence in his staff. In and analysis in addition to talent. A feature film would
the mid-thirties he wrote a memo, "The animation has have to have tender moments, sincere moments, quiet
made a very definite advance forward which, in my moments. There would be a need for drawings with
estimation, is close to 100*$ over what it was a year great appeal, characters with life and believability,
and a half ago. I know that eventually wc are going to and personalities that could hold an audience for well
attain a degree of perfection never before thought pos- over an hour. Gags, funny actions, and visual tricks
sible. It proves to me that the time we have spent would not do it. If the audience were to be drawn into
studying, trying to analyze our problems, and sys¬ this film, this world of fantasy would have to be a real
tematizing ourselves, is bearing fruit. The hit-and- world with real people doing real things. This would
miss is going " not be a cartoon. It would be "theater," and Wall
He knew- he had the strength in the Story I>epart- would have to have men leading the way who could
ment because he was carefully adding new people. make it all come true,
Instead of making separate
drawings of each charac¬
ter, Hurler placed more
emphasis on the characters
interacting* which is al¬
ways a more productive
way to arrive at the design
of the charactersr It all
starts with the inspirational
sketch.
r -it -a. -

1 ?
5. Cartoon Comes of Age
NORM FERGUSON AND HAM LUSKE

inmost instances, the driving force behind the action is the mood, the personality, the attitude of the char¬
acters all three Therefore, the mind is the pilot. We think of things before the body does them.
Walt Disney

Disney story man Dick Kelsey once said, "There is no

perfect window for a house; there is something wrong
with all of them. They warp, corrode, rust, swell,
iwisl, and need constant painting. If s a matter ol what
you like and what you’re witling to put up with. And
the same applies to animation. There is no best way to
animate any more than there is one " 'greatest anima¬
tor"—or greatest painter or writer or actor. Each brings
his own personal message and interpretation to his
craft, and if he has something to say that audiences
want to hear, and if in addition he can effectively
communicate (hat message, he may be considered great.
His work may grow and become timeless, or changing
tastes may outdate him in his own time,
in late 1935, Watt picked four men from his tal¬
ented group of animators to supervise the animation
on Snow- White. These men were Norman (Fergy)
Ferguson, with a mastery of broad staging; Hamilton
(Ham) Luske, with great ability to analyze and develop
procedures that others could follow; Fred Moore, with
superb appeal in his drawings; and Vladimir (Bill or
T-bone) Tytla, with an ability to portray great emo¬
tions and inner feelings in his characters We have to
believe that Walt, with his uncanny intuition, must
have realized (hat he had found a magic combination
in (his group.
Their rise had been rapid and their contributions
tremendous. But their careers, whether due to chang¬
ing tastes or personal problems, were to be 1 airly short¬
lived by Disney studio standards, where many ani¬
mators have produced successfully for periods of over
forty years. Their work, beginning with shorts in the
early thirties, reached its height in 5/itnv While, Pinoc-
chio, Fantasia, and Dumbo„ During this tunc they
more than justified Waifs confidence in them. But
continued success eluded them, and, somehow, when
their time had passed, they were never again to find
the same opportunities to express their particular tal¬
ents. Animation took a direction that demanded a re¬
finement no longer compatible with their styles.
These men were line craftsmen who had helped to
break away from the rigid traditions of the past. Their
scenes wrere identified with the new. important uses of
fundamentals—the broad Squash and Stretch and the
strong Anticipation. Their work was easy to under¬
stand, to recognize, and to study. But as new men
with formal art training came along, and Waifs think¬
ing turned toward an increasingly sophisticated type of
animation, a more subtle kind of action w ith more
complex acting and more meaningful expressions de¬
veloped. The animation became so sophisticated that
it was almost impossible to recognize the basic princi¬
ples, The medium had developed into an art form.
Perhaps it was fate that brought these four anima¬
tors. together wiih Wall at this time. Their styles were
as diverse as any four could be- rough or clean, intui¬
tive or analytical, it did not mailer. It was the combi-
 nation of these four men that helped Wall set a course
that would take Disney films to heights never dreamed
of: (he creation of characters that reached out to audi¬
ences in a way only a few live-action pictures ever
achieved.
However, it is conjecture to say that the big devel¬
opment in Disney animation came just from the chance
combination of Walt, Fergy. Ham. Fred, and Bill. But
because these men were put in positions of authority,
they automatically had certain responsibilities thrust
*he animators, Bili
upon them that opened opportunities others may not
'ojecled she strong-
tiona! feelings into have had. Their chances for greatness certainly were
racters. increased.

■
1
IK ^ I 1
p
 Dave Hand believes that Walt would have come up really set the course. He was always out there and we
with basically the same type of picture no matter which were trying to catch up.'1
top animators he had chosen to lead off, Wilfred Walt gave inspiration with his acting and storytell¬
Jackson felt the same way: “It is my opinion that if ing, and his animators came up with the elements that
Walt had started at some different place at the same brought about the Golden Age of animation. It is doubu
time with a different bunch of guys, the result would ful whether the warmth and the tenderness and the
have been more or less along the same lines, because 3 heart would have appeared in the pictures without this
think Wait had a real firm hand on the tiller. There combination. Without these men it would have been a
may be some things that some of the guys brought out different Snow White—if the picture would have been
which showed possibilities to Walt that he took advan¬ made at all. But Walt drew out of each man what he
tage of that spread the gospd and the rest of us picked could, and then continued to build on that contribu¬
up, but really talented guys in other directions could tion, always asking for more. He was opportunistic, in
have given him a similar thing I believe, because he a way, in his ability to use what a man had to offer.

4
 In this scene from Peculiar
Penguins, the girt, annoyed
with her inept boyfriend,
flips her mil feathers in his
face, then fosses her chin
in the air. Ham Luske ani¬
mated the scene (top raw}
with good anticipation and
fallow-through, hut felt the
action tacked accent and
cuteness.

On his second test, he

made the tail go farther and
added a slide backward to
accentuate the flip (vertical
row). This gave unexpected
emphasis and pert ness to
the whole action.

and then to make the fellow produce far beyond his

normal capabilities,

Fergy
Norm Ferguson (or, as we always called him, Fergy)
used to like to tell of the lonely night when he switched
from cameraman to animator. He was staying late to
Finish shooting a scene when he discovered that some
of the drawings were missing. There was no one else
around to complete the animation and no one to call,
so as Fergy put it, “I had to Fill in.'1 The scenes were
so successful that he was offered a job drawing. And
he reasoned, “If this is all there is to animation, 1
guess I'll switch over—it beats being on camera,1'
Fergy, who came to the studio in 1929, had an
intelligent, creative mind, and he listened and observed are doing. Your character goes dead and it looks like a
more than he talked. What he did say came out with a drawing. ”
slight Brooklyn accent, and it was usually punctuated Ben Sharpsteen, who had come from New York
by, “Yeah, yeah, you know, you know.'' He would only a lew months before Fergy, recalls that Walt then
laugh about events that were going wrong, so it was assigned Fergy to the bloodhound in Chain Gang:
difficult to tell just how deeply he felt about things. ’’Fergy was successful in getting a looseness into the
Most of the time during a conversation he would be bloodhound that exaggerated its ability lo sniff (a
fooling with a little curl of hair on his forehead that wrinkling of the nose) and to think (facial expressions,
always seemed to separate from the rest, Jack Cutting1 such as a quizzical Took or a sudden smile directed at
said that Fergy \s wide-open pale-blue eyes and fixed the audience). Fergy succeeded in getting a feeling of
smile looked guileless and friendly, but every so often flesh into his animation. No one realized what Fergy
you got the feeling that his smile was a mask and (hut had done, however, until after the preview.*1 No one
behind it he w^as observing and noting everything you realized, either, that this dog would develop into the
were doing. famous Pluto. And Don Graham adds, “Hie dogs
Fergys tastes did not run to the intellectual, He were alive, real. They seemed to breathe. They moved
loved the old vaudeville comedians, and this was like dogs, not like drawings of dogs. The drawings
probably his chief form of entertainment while grow¬ explained not so much whul a real dog looked like, hut
ing up. He saw everything as if it were on stage, rather what a real dog did.”
lhan in terms of the involved movements some anima¬ Walt did not tell Fergy to do a different dog or one
tors were able to do after studying live action, A big that added a new dimension to cartoons. He did not
pan of a comedian's act was often the way he looked say, "’Let's see if we can make a dog think this time.”
ut his audience in response to some action or line of He did not tell him, ”1 want you to do a dog that will
dialogue—sharing his reaction broadly with the spec¬ act like this and do these things because l think the
tators. Fergy adapted this very same routine for his audience will go for it, ” That was not Walt's way—not
cartoon dog who would become Pluto, having him when developing a new character. He would he apt to
look into the camera to show his inner feelings. No stan talking about different dogs and the funny way
one doubled that this dog was thinking, too. they had of sniffing when they were on the trail of
In one of his first pictures, Frolicking Fish. Fergy something. Before he knew it he would be acting it
animated a girls' trio as fishes singing and doing an out, and the fellows in the meeting would start laughing
old-time soft-shoe dance. But Fergy’s vaudeville touch because this was funny, the way Walt did it. And
was not the most memorable thing about this piece of more than likely, Walt would remember a specific dog
animation. Wilfred Jackson pinpoints this as a big step he had seen—maybe an old hunting dog that lived
forward: “In that scene there was a fluid type of action near the Disney farm: “Y'know this old guy would
where they didn't hit a hold and move out of it. But come snuffin’ along like a vacuum cleaner, his muzzle
when one part would hold something else vvould move. spread all over the ground. You know this loose skin
So there was never a complete stop. And this was a they have up here: well, it would he spread out flat he
scene Walt made us all look at, because he said that is was try in' so hard to get his nose down next to the
the worst thing about the kind of animation you guys smell, and he had all these wrinkles bunched up over
 n

animator Norman Fergy' Fergusotr—Playful Pluto

The famous flypaper sequence from Playful Pluto, a milestone in personality animation. From (he lime he accidentally sits on
a sheet of the sticky flypaper* Pinto's problems seem lo become ever worse as he tries to extricate himself, ‘through r t off. fas
reaction to his predicament and his thoughts of what to trs next are shared with the audience. It was the fast lime a character
seemed to be thinking on the screen, and. though it lasted only 65 seconds, it opened the way for animation of real characters
with real problems.

his nose and down over his eyes. But he was serious Somehow he had the ability to make you see what was
Yf about it, y’know; he wasn’t a goof ball—this was funny about the character itself, and it was the charac¬
serious business to him.” ter's expressions that you saw and later tried to draw;
And (hen Walt would remember how the dog would but, still, that dog's eyebrows could only have come
suddenly stop and look up, as if he was thinking—you from Walt.
hardly knew what. Maybe he was sorting things out, When Fergy projected the first tests of his new char¬
maybe he was listening for something, or maybe he acter sniffing and snorting and then slopping to think,
was trying to remember when he had last smelled that everybody was enthusiastic. No one remembers whal
particular smellt or maybe it was just something that Walt said, but very probably his comment went like
crazy dog did. And as Walt acted it out, it became this: ^Yeah , , . y’know, he ought to have a big snort,
funnier and funnier; encouraged by (he response, Walt right into the camera, after he's thought things over—
would know he was onto something that was good they do that, those dogs—it’s to dear their noses or
entertainment. He would imitate the expressions of the something. But y’know, he’s looking around, side to
dog, and look from one side to the other, and raise side, and then suddenly he looks right at the camera
first one brow and then the other as he tried to figure and gives a big snort—not really disgusted, you don't
things out. Watt’s eyebrows were particularly facile, know why he does it, hut it’s funny, and then he goes
and the piercing look with the one brow down and the back to sniffing some more ” Walt never stopped to
other up was his most common expression when he praise; having seen something he liked, he started
was thinking, Fergy was watching all this as well as building on it immediately, making it better and funnier.
laughing at the thought of the old dog with all his Once he had seen what Fergy could do, he asked lor
wrinkles and the sniffing and trying to figure things more of the same type of thing, but always something
out, and in his mind he was seeing the way it should new and something stronger. Usually the animator
look on the screen. He was visualizing drawings, atti¬ barely had been able to achieve (he original result, and
tudes, expressions, but they were not draw ings of Walt anything more seemed to be beyond his capabilities.
himself; they were drawings of a dog w ith a personal¬ But, once again, Walt would "talk it’ and "act it
ity who was thinking. Even though the animator would out,'' and you had to admit that it was funny business
get his sole inspiration from the way Walt acted out a and the sequence would be better with these new ideas;
character, there was never a temptation to draw Walt, so, once again, you would strain and struggle trying to
(Continued on page 104)
fit '■ Wirr- 5 ,ft + (/ J

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Inspirational Sketches
by Gustaf Tenggren
For Pinocchio
 op portu n i ty to c rea !e a world fa mou s cartoon c h arac le r.
In his analysis of Pluto. Ted Sears, a top storyman,
y said, “The flypaper sequence in Playful Pluto is always
mentioned as the best example of his pantomime. This
is because it illustrated dearly all of Pluto’s character¬
istics from dumb curiosity to panic, Zt is timed in such
a way that the audience feels all of Pluto's sensations—
each ‘hold expression' after a surprise action was care¬
fully planned, and expressed some definite attitude
causing the audience to laugh. Hach small climax builds
up into a better surprise." Wilfred Jackson also com¬
mented on Fergy s flypaper sequence; “You can take
that same gag without running over the dog's thoughts
or emotions, just mechanically doing the thing, and it
wouldn't he funny.’*
Fergy accepted the innovations in his work as the
natural course of events, and lie never cared for mak¬
ing rules about how to do something or being tied
down too much on the character. In one scene he had
animated a particularly funny look on Pluto, shifting
his eyes from side to side, the brows working like
Wall's—one side up and the other down. The young
animators dashed to his room to copy the timing on the
exposure sheet and paw through his drawings. Fergy
was puzzled, and he commented: “Why do you want
to memorize how 1 did that action? I might do it dif¬
capture an elusive expression or movement or attitude. ferent next time.'’ But this shows some of the excite¬
Working in this way, how could anyone claim credit ment of that period—everyone rushing around to see
for doing a certain scene or even an outstanding action? how someone else did something. It also shows some¬
Fergy knew that he had made the drawings and timed thing about Fergy’s approach: he would not stop trying
them. They were immensely successful because he to find a new and better way to do this same action
had been able to capture certain dog characteristics next time. It was all well and good to learn how some¬
and to present them with enough understanding of one did a good piece of animation, but to copy it was
entertainment and enough grasp of showmanship io very limiting and something Fergy would never under¬
make a funny scene. Yet, without Walt there would stand,
have been no Pluto. Fergy. on his owrn, would never Fergy had had no formal art training, so he was not
have conceived of these scenes or this personality, and inhibited by anatomy and drawing rules, Fred Moore
no story man would have considered that such business used to laugh and say, “He doesn't know that you
and actions would ever gel across in a cartoon. But canY raise the eyebrows above the head circle, so he
First of all, no producer would have risked a nickel on goes ahead and docs it and it gives a great effect."
such a new departure as the idea of a cartoon character And that was but one of the many things Fergy initi¬
having a personality. Without Walt, who had the great ated to give his work that extra life and vitality. Marc
insight to see how an animator used his ideas, plus the Davis says, “Norm Ferguson wasn't the artist, but he
great ability to adapt this to his own purposes, there was a sharp performer and a showman—hard to know
would have been very little improvement in the quality if his drawing was there or wasn't there—he had his
of the films, and Fergy would never have had the own kind of symbol.'1
 Fergy's drawing during this period in the develop
merit of animation actual !y was quite good and had a
solid sculptured look. His feeling for stretches and
tension right down lo the toes and his handling of the
flesh and getting meat on bones—without losing the
sausage body and stuffed legs—were outstanding.
He worked very rough for first tests—usually just a
circle and two lines for the body. This kept the staging
simple and gave him a guide that was easy to change.
With a quick test on his first rough drawings, he could
see whether he had something to build on. He could
keep making fast changes, never feeling that he had
invested so much lime in a scene (hat he could not
discard it and try a new idea if something was not
working. This style suited Fergy because he always exceeded all expectations; in fact, to many, she was
had something he was trying out. Most animators who excessively terrifying, She, like Tytla’s devil in "Night
employed this very rough method seemed to be cast on On Bald Mountain,” was menacingly ugly, which was
work in which they experimented with fast action and not a characteristic of Watt's later villains. The witch
gags—all scenes with broad movements. seemed to have an Arthur Rackhanr quality and was
Maybe there was a certain amount of impatience in reminiscent of his evil old woman in Hamel ottdGreteL
Fergy's wanting to see right away what he was get¬ Fergy's handling of her face was less of a typical
ting, or maybe as Jack Cutting says, L'Fergy was ner¬ formula than most Disney designs, with shapes that
vous." In either case, it was this abundance of nervous did noi relate as well as they should for animation
energy that led Wilfred Jackson to recall affectionately because of the witch's illustrative quality. The mouth
the following incident. Someone asked if Fergy, after to cheek to eye and brow relationship, which is so
arriving from New York, had fit in rapidly and made important in animating expression changes, suffered
his presence fell. LTaxon*' replied. l'Fergy made his from his concept in design.
presence felt real fast with me. They had to get another By 1953, Fergy had found it extremely difficult to
row of animation desks at that time, so his desk was keep up with the newr refinements in acting and draw¬
right back of mine. He used to shake his foot all the ing, and he had left Disney’s to work in other studios.
time, and it would wiggle my desk and I couldn't He had suffered much of his life from diabetes, and
draw—so he made his presence felt right away writh that, combined with other health problems, brought on
me." his death in 1957.
Fergy's witch in Snow White was the first of the Fergy’s style of animating influenced younger ani¬
great Disney villains. Her impact on the audience mators and is still in use, particularly (he quick lest to
 Ham
Hamilton Luske was opening the door to a new , more
refined approach in which everything one has is put
into the first test. This requires an uninterrupted conti¬
nuity of thought. It may take days to do the scene, but
you must not lose the thread, change your mind, or
lose your confidence—you must be sure!
Ham had an absolute fascination with howr things
moved. Eric Larson, who was Ham's assistant in the
early thirties, says, “Ham was studying animation all
the time—it was his whole life . “ One weekend Eric
and Ham were on the deck of the Catalina steamer
with their wives, enjoying the sea breeze and apparently
trying to forget the cares of the day. But not Ham’ All
of a sudden he pulled off his tie and held it out in the
wind. “Look. Eric! Look at the overlap. See how the
end keeps going down after the center part starts up.“
Every time they would play golf it was the same thing.
“Now watch close. See the follow-through on my
putter." But this was actually Ham’s way of relaxing;
and if a friend wras going to relax writh him, he had
better be ready to do some analyzing and observing,
too.
Of the four animators in this group. Ham was the
only one with a college education. He was graduated
from the University of California at Berkeley, where
he majored in business. His w ife Frankie laughs about
this, because she says that Ham would not even look
at the bills or the bank book. Like Fergy and Fred
Moore, his only formal art training came primarily
from the classes that Walt initiated at the studio.
Ham had to struggle with his drawing, but he had a
natural feeling for animation, story, and for what was
entertaining. So despite his lack of an artistic back¬
check a proposed pattern and maintain flexibility in ground, he had many things going for him. Perhaps it
any plan. It suited the way he thought, [f it works for wras his college training, or maybe it was just inherent
you, do more. in him to have a well-organized analytical mind.
What he did with Pluto was probably his biggest Eric Larson said. “Ham played a lot of tennis, so
contribution. He showed the way for other animators w hen he was given the chance to animate Max Hare in
in the use of symbols such as takes, frowns, smiles, the tennis sequence of The Tortoise and the Harey he
and a whole range of expressions. Fergy's was the knew precisely what he wanted to do." The important
ultimate of the old style-—a broad, loose feeling, in thing was his knowledge and feeling for the game, and
concept as well as drawing—a way that kept the door Ham had the imagination and the vision to dream
open for incorporating new ideas right up to the last beyond what he himself could do on the court. He
moment. knew the exact poses he wanted to use in his held
Mske— positions anti just how much overlap he needed to Everybody credited Ham with analyzing the essence
Mare. keep the poses alive. This was a picture in which of the cute pose. Fred Moore had found the same type
fax Hare Liming was more important to the personalities than of thing intuitively. While Ham did not have the same
fa tennis anything done so far. The cocky Hare zipped from Hair or natural feeling in his draw ings, they may have
'i players pose to pose, with emphasis on the moving holds, and been easier for most others to understand. Everything
play. He
to follow the speedy action between these holds. Ham was placed exactly wrhcre he wanted it. more crudely
t the spr¬
ue streak and Wilfred Jackson, the director, devised the blue than in Fred's drawings, hut with great clarity, defini¬
tho drew streak technique Jaiton says, “That's the first time I tion. and caricature.
*utges of He acted out the characters, finding the elements in
remember shooting a color test for a picture to find out
rt. imitat¬
if the blue streak was going to work out all right, and a pose that really pinpointed the position of the feet
or on live
a figure if s a good thing we did. The first two or three limes and body, the right place for the hands, the arch of the
the shut- wre did it didn't suit Walt at all." hack, the lilt of the head, right down to his famous
•se effects
“oooh" mouth. We came to think of Ham in these
terms, a grown man acting out this cute stuff—little
animals, dwarfs, or Pinocchio- and everyone carica¬
tured him that way. and always with the “ooohT mouth
at the bottom of the long upper tip like Sneezy’s, No
one ever caricatured Fcrgy acting like Pluto, but Ham

m Luske
1 ‘Ocrovh
atured by

( lurk. £j
se anima-
‘at Disney
50 years.
had become a symbol for this type of acting. The animators were all wrestling with their first
When Walt asked Ham and Les Clark to draw a attempt to draw the human figure in action, and they
believable, pretty girl for The Goddess of Spring, both often went behind dosed doors to practice their moves
animators were stumped. Brie Larson acted out the without the comments of their co-workers. *Tm sure
scenes lo help Ham capture (he movements, but Walt Walt was thinking ahead to Snow White," Les Clark
was not pleased with the animation, feeling it was too concludes. 1‘Although he didn’t tell me that, I assumed
rubbery and flexible. Les fared no belter, even with a later because Snow White herself was designed so that
real girl for a model. ”1 used my sister, Marceil, for she could be animated.”
certain poses,” he said, ,ll had to get some son of The animators occasionally got the grace, the rhythm,
human anatomy, you know, but it came off miserable, the relationship that distinguished the leading lady of
1 thought And I apologized to Walt, and he kind of The Goddess of Spring as a lady; they even got the
sloughed it off and said, ‘1 guess we could do belter weight and balance and perspective accurate enough
nest lime. . . .’ And J think the reason it didn't come so that in some scenes she moved convincingly. But,
off, the character wasn’t designed to be animated To exhausted by the effort, they relied on a "pretty girl”
nie, the key to character animation is the design qual¬ formula for the face that not only looked as if she were
ity of the figure that you can use. 1 had a hard time wearing a mask, but defeated the total effect by giving
with the figure, not that I didn t know how to draw it, her a zombie look. She certainly was not alive and was
bul lo animate it.” totally devoid of personality or feelings.
 After Ham hud the experience of animating Til lie what Ham was best at: that, and designing the char¬
Tiger in Elmer Elephant, he realized ihat a carioon acter-acl ion relationship for an appealing, interesting
character only lived when the whole drawing, as well result on the screen. Not everyone has the mental dis¬
as all the parts* reflected the attitude, the personality, cipline or ability to think these problems through.
(he acting, and the feeling of the character. His analyt¬ As I lam began a scene, he made careful, neat draw¬
ical mind and care for del ail equipped him for I he job ings thal showed all lhe actions, expressions, and details
of finding a way of creating an appealing heroine who of timing. This done, he flipped the drawings, and
ecu Id survive the growing pains of budding artists when he found an action that seemed weak he reached
who were eager, hut still nol able, to draw an altrac¬ in and crudely made a big, bold correction on four or
tive girl in more ihan one position, When they started five drawings* as he held the whole batch in his hands.
on the heroine in Sncuv White, Ham concentrated on It looked as if two people bad animated the scene, one
her eyes and mouth and getting as much relative move¬ a Dr. JokyII and the other a Mr. Hyde, but it kept the
ment in her lace as in her body. Crude as many scenes scene strong and alive with infaltable staging, clear
were, they began to live. action, and strong accents.
Like Fergy, Ham had a strong feeling for what was Ham was always probing around; that was the key
entertaining, but there the similarity ended. In contrast feeling in those days. The animators were always trying
to Fergy's natural ability to improvise while animat¬ to come up with a new way of handling an action.
ing. Haiti always seemed to follow a procedure with a Ham kept experimenting, trying to find a different
step-by-step approach. However, his animation was walk: so he kept varying the timing and relationships
nol mechanical in any way. On the contrary, il was until he finally went so far that he no longer had a
til 11 of life and the feeling of the character; his ability walk. He had shifted the relative timing of the arms to
to move the audience with his pathos was second only the legs to the body until it was now a peculiar Tw isting
to Bill Tytla’s. Ham could not start a scene until he movement.
had the whole thing visualized. He would sil with his If he sawr an unusual type of animation or visual
aims folded staring al a blank piece of paper—thinking effect (hat some other studio was using, he would get a
and planning. He felt that if he could spend half his kind of puzzled, annoyed look and say* “I wonder
time planning, he would animate his scene better and why we aren't doing thal. We should be able to figure
faster. Eric said Ham would be hunched over his board, tint how to do it. maybe even better.*' And he would
fussing with his drawings and saying.' There must be think about it till he had a better way. And the things
some way to exaggerate this pose,'' He would ehoose Ham thought about—how he could do something new ,
the precise thing to do and then push it further. go further and make it more entertaining* give it more
Ham could make that exira drawing in the action to personality—these were all things he was beginning to
give more than the director asked for, always going understand in a way that he could define them for
stronger. If the animator does just wtiai is on the story somebody else. I’his was one of the great things about
sketch, the scene will nol have enough zip. And that is Ham. He realized thal this type of knowledge must be
passed on to the young animators or the studio would caricature. And Walt responded warmly, thanking her
not progress. And Ham's knowledge was not limited for being the inspiration for Jenny Wren. Ham's abil¬
to animation; his philosophy of story concepts may- ity to combine analysis, subtlety, and strength had
have equalled any other contribution he made. made Jenny an outstanding character.
When we were talking over a scene or a story point, Ham had reminded the young animators, "Our first
he used to say. “I’m thinking out loud." What he job is to tell a story that isn't known to the audience.
meant was, “Don't take what I'm going to say too Then we have to tell a story that may cover several
seriously yet, I'm not even sure myself." And some¬ days, or several years, in a little over an hour; so
times he would say, "I'm being wishy-washy on pur¬ consequently we have to tell things faster than they
pose," which was also to let you know that he wanted happen in life. Also we want to make things more
to keep the thought alive, and to consider everything interesting than ordinary life. Our actors are more
before nailing it down. rehearsed than everyday people; if somebody gels on a
As an animator. Ham probably never had his sights horse or opens a door or sits in a clunr. we want to do
set on being a director or a supervising animator. In it as simply and professionally as possible, Our actors
1935. he was only beginning to reach his great poten¬ tnust be more interesting and more unusual than you
tial in animation. He had just animated the character
of Jenny Wren in Who killed Cock Robin ? Ham s
Jenny was a caricature of Mae West, and through
careful study he had pinpointed what actually made
her Mae West: the provocative swaying walk with (he
slow shifting of weight, the characteristic way she
rolled her eyes and talked out of the side of her mouth.
He succeeded in getting excellent dialogue sync, but
in a more subtle way than ever done before. And that
is one of the things that made her come off so well.
Ham could tell if something was eve it one frame out of
sync. Jenny had the slow-moving, cool, confident man¬
ner that Mae had—no quick moves or big anticipa¬
tions. She, like (he real Mae, seemed to have appraised
the situation, sized up the opposition, and was in com¬
plete control. The material Ham had to work with was
excellent, but still no animator had ever done anything
like it before. Everyone said, "That's even more like
Mac West than Mae herself!" In fact, Mae wrote a
letter to Walt complimenting him on the outstanding
 and L Their thought process must be quicker than Horn Luske is definitely assigned to Snow Wftrte!”
ours* (heir tin interesting progressions from one situa¬ Usually a casting memo is just a routine piece of infor¬
tion to another must be skipped.” in these few sen¬ mation, but this one fairly tingled with excitement as
tences Ham had summed up much that is important Walt announced the first man to be cast on this daring
about picture-making: the entertainment, the time de¬ new project. This shows the importance (hat Wrall as-
ment, (he acting* and the elimination of unnecessary tached to casting and especially his great dependence
action. Similar principles have long been known in the on Ham at this time.
field of literature, for as one distinguished professor “Ham Luske moved up quite fast,” recalls Wilfred
has said* * 'Great fiction is art and invention, not dupli¬ Jackson. “He was one of the first guys I remember
cated reality. Most lifetimes do not possess the crises who had more than just an assistant—promising young
you find in novels.”* Is that not what drama is any¬ guys he would hand out little scenes to. One of the
way, life with the dull spots cut out? first guys who had a crew to supervise. Then on Sfrcnv
Walt probably wondered many times, is this the White he took complete charge-lhe girls ... the ani¬
right time to start Srtrm' White 1 Have we got the man¬ mals. If you were directing the sequence* with the girl,
power and, most of all, are they capable of doing the you didn't have to direct the girl because Ham did it.
job? Who should be the first animator to lead off on He knew the way it was supposed to be. He shot most
the picture? The answer to these questions came in a of the live action on it too. He came up very fast and he
easting memo put out in late 1935: “From now on showed his ability to organize and put things together.s+

im Luske felt that the rabbits we were drawing veer? thin and This , , , is softer than . . . this, We* were told by Ham to
•ay instead of soft and furry. The more artists tried to draw a think of “Dr. Dentons.V
bids’s anatomy, the less the drawings looked like soft fur. the sleep suits young kids
im realized that an absence of fines and fullness of shape wore that hid the anatomy
?utd make the drawings look soft. under a thick, soft flannel
covering. This is Michael
from Peter Par, animated
by Hal King.

Out of th is thinking came

the rabbits in Snow White
—this one drawn by Milt
Kohl while working with
Ham.
WATOfi Oilie Johnston—Bambi.

? used the same principle lWteu w drew Thumper, two pictures later,
 Often when Ham and Fred Moore would be dis¬
torted about something on the picture they would run
up lo Walt's office, full of enthusiasm, hoping to sell
him I heir idea of how to correct it. But somehow Walt
could always sense it it was something he did not want
to hear about at that time. And besides, he did not
want anyone in the position of telling him, or selling
him. or confronting him. Walt had a great curiosity,
hut he preferred to find things out in his own way,
asking the questions he wanted answers to; and his
opening remarks were usually designed to put you on
the defensive. On one occasion, before Ham and Fred
could get a word out, Walt said, 'Gee, Ham, J didn't
know you ever wore a tie to work,'1 which got them
off balance and off the subject. They had a nice chat,
and he sent them on their way. When they got halfway
down the hall, they stopped and looked at each other;
Fred said. Hey, wail a minute! Do you realize we
didn’t get a word in?”
Ham sighed and said, ‘Yeah, he did it again.”
It was oltcn difficult to know precisely what Walt
saw in a piece of business, and after each meeting
there would be some disagreement over what he had
said, arnl even more confusion over what he had meant.
During (bo.se 5rt£)w White days. Ham was usually the
best at knowing just what Walt wanted. As one man
put it. "Someone would say that Walt said he wants it
like this. Ham would say, 'No, that's not what he
means. This is what he means ’” But no one hit it
right all the time with Wak, and Ham s first try at the
Snow White model missed as far as Walt and most of
the fellows were concerned. Ham had an interesting
idea, however. His drawing suggested an awkward,
gangly teenager with a winsome charm, who could
very well have been animated without live action. But
the story had started to go a different way by this time,
so Ham's girl was turned down. If a story sketch man
had nude the drawing it would not have attracted as
much criticism, but when an animator suggests a way work on the inspiration of the moment as art actor
to draw the character, everyone figures that is the way does, but must present our characterizations through a
it is going to be. Since he is the one to pul the charac¬ combination of art, technique, and mechanics that takes
ter cm the screen, the animator finds himself in a very months from the conception to the finished product
vulnerable position, and often he winds up with a And we have to make the audience forget that these
wounded ego.
are drawings. We cannot risk ruining a sequence or a
Some of Ham's best thoughts came out in a talk good characterization with some mechanical imperfec¬
given in 1938; "Our actors are drawings. We cannot tion or jitter that reminds the audience that we are
 keys to her acceptance by the audience. This cannot be
done arbitrarily. The live action must be studied and
understood or, with a character like the girl, it could
become comical. At the time, it wras just thought of as
a help to get the picture out, or a crutch for animators
who could not draw too well, or a way of keeping the
character consistent even though several animators were
handling her. But looking back on it now, without
Ham’s control and imagination, taste and inventiveness.
Snow White would not have had the conviction and
appeal that really sold (he character
from 1 h?film Wralt felt that Ham had been successful in steering
tors to study
the fellows in the right direction on Snt?w White, and
e Bet! and
ver as Snow for the most part he had achieved the results wanted;
wince about so Walt rewarded him with the very difficult task of
heir castle. shooting live action for the Blue Fairy in Pinocchio. In
a talk given by Ham to a group of animators and
dealing with drawings instead of real beings. The suc¬ directors, it became obvious that he was especially
cess of Sttotv White was due to the public accepting valuable as a communications aid between these two
our characters as living beings, and the lack of success groups;
of the Prince and the Huntsman |as characters! was
due to (heir unprofessional result. ’' Let’s say the character of the Blue Fairy now is
Margie Bell, who did the live action of the girl in perfectly conceived and perfectly cast. Then I have
5mm1 White, (ells of a funny incident during the shoot¬ to go over to the sound stage and shoot live action
ing. So that the girl’s head size would have better on her that will appear flawless and life-like as ani¬
cartoon proportions and relate more to the rather large- mation later on: and to do that, 1 have to invent
headed dwarfs, someone suggested, ' Why don't we movements again—enough movements to be able
put a football helmet on Margie to make her head to be in bet weened. And the only movements we can
bigger':11 That oughla do it. ” IbaE did it all right. Margie, find for her to do are to have her lean forward and
who later achieved fame on TV as Marge Champion, back. So consequently* in every scene, we told
n Luske— said that within minutes, under those hot lights, she Margie Bell to lean forward for one phrase and back
was perspiring more than a 260-pound tackle. She for the next, until it got funny. We did conceive
g and real- added, “We gave that up in a hurry!” several walks and one scene of her bending confi¬
how the im- Ham made an enormous contribution to Snow White dentially into a closeup with the Cricket—and that
Irawing that
by (he wav he directed Margie for the live action. w ill be our best scene of her, , . ,
:e since The
pring. made
Ham’s choices in handling (he girl, keeping her inno¬ You should tell the actor what to do, not how to
earlier. cent, feminine, appealing, ant! sincere, were the real do if. I think the trouble with most of our live action
has been in not giving the actor enough business to
do* and then meddling with the way he does ii when
the scene looks stilted. If (he movement seems inad¬
equate, invent some business* such as poking the
fire or scratching the head.

An example of inventing business for a character

occurred in the scene where Snow White folds her
arms as Grumpy would, while she is watching him. li
was a very good choice of action for her, because it if the situation demanded it. For one thing, he could
showed her gentle way of teasing Grumpy. And if not tolerate anything that wras not clear and definite.
Mam had not used an action of this type* he would "If you are going to show something, be sure you
have been slack w ith having to move her cither slight]y don't do it halfway!” When he drew for you he would
back or slightly forward. Ham continues with his continually work his mouth and his brows, and he
approach: seemed to be urging his pencil on and willing it to do
what he was visualizing.
When we pick our live action takes, a person that Every time Ham would do or say something he
hasn't animated is very apt to pick them for facia] thought was really funny, he would laugh so hard his
expressions, and not for action. And we can't afford face would turn red and tears would roll down his
to do that. cheeks. His favorite jokes were puns—the visual kind,
and the more farfetched, the better Once in a meeting
Ham s capacity to analyze and to work out a proce¬ someone mentioned Bell & Howell projectors. In an
dure that could be written in outline form as a guide in si ant Ham was on Ins feet ringing an imaginary bell
for others made him LLtoo valuable” to be confined to and then just as quickly pantomiming a long, silent
his hoard. Even though he did some animation on the howl. After that he would start laughing, usually in
girl in 5/kw White, Ham was really a director on the little short bursts, and our disapproval only made him
picture. Walt felt that Ham’s value lay in the influence laugh harder until finally he would go into convul¬
he could have on the younger animators. So, much of sions—particularly if he was really proud of his effort.
the animation handouts on the Prince. Snow White, When he wrou!d eventually regain control, he would
the Huntsman, and the animals was turned over to look hack and forth among us with this half-hurt expres¬
Ham. Somehow Walt aiwrays seemed to load Ham up sion and wonder why we could not see the humor in
vu(h more work than anyone else. Fred and Bill shared his joke. Actually he had such an infectious laugh that
the supervision of the dwarfs, and Fergy took over on it was hard to resist getting into the spirit of his gags,
the witch Any one of these jobs was a handful, but M is doubtful that Ham or anyone else could have
Ham's would have been insurmountable for most peo¬ realized the far-reaching impact his procedures would
ple. However, he had a way of spreading himself have on the future of Disney animation, Walt liked the
around while still being effective. refinements that these procedures brought, and it was
Ham's analysis of the best approach to designing a obvious from the popularity of the pictures at the box
character that everyone could handle is still in use office that the audience wholeheartedly accepted these
today. Certainly the execution is more sophisticated, advancements The direction for the further develop¬
but the principles are the same—as are the problems. ment of animation had been set* and much credit could
It is amazing to see m Ham's 1938 outline (in the go to Ham, whose ability to analyze, organize, and
Appendix) on his approach to character handling how plan had helped open the way.
it all applies today. As the French say, "The more Ham was a top director on both Pmocchio and Fan¬
things change, the more they stay the same." tasia, a position that he enjoyed, feeling it gave him
Ham had a knack for being creative in helping to the type of control he needed to be most effective. But
develop areas of animation I hat needed strengthening. as time passed his interests drew him further away
He was great with the younger men, and. along with from animation* and as the new group of supervising
Fred Moore, was probably the best teacher among the animators added their contributions to the rapidly devel¬
animators The supervising position that Ham held oping craft Ham had less and less influence on the an
on Sno* While was ideally suited to his abilities. He form he had done so much to advance. He continued to
was at his peak when he was working closely with the direct memorable sequences, notably the cartoon sec¬
young animators and still had some time at the board tion of Mary Popp ins, but, increasingly, more of his
himself. He was usually gentle and easy going with time was spent on live-action problems for the weekly
his criticism, but he could be quite blunt and forceful TV shows* until his death in 1968
Speed Lines, Staggers, and Vibrations
The short /Urns of the early thirties were full off am action, skids, and crashes. Each
animator scorched for a better or funnier uv;v la draw she effect needed to fortify
his action.

animator.Frank Thomas—
Sleeping Beamy.
Feature films also needed
unusual drawing effects for
certain actions. VV'jWi she
good fairy Flora had to
shrink in size, a special
device HYts needed to make
this look plausible. A kind
of wipeover made of speed
lines was used.

The most common stagger is the J45456567678789 timing

for tension when some progression is desired. It is useful in
pulls and pushes and on the end of a very strong take,
adding extra life to the action. This stagger is done entirely
with the mechanics of exposing the drawings under the cam¬
era. Inbelweens are made slowing into drawing No. 9 and
the rest is left up to the cameraman.
 animator Bill Roberts—
Clock Cleaners.

This vibration effect is

tii hieved by an imating mul¬
tiple images our from a sin¬
gle image. Mo special pat¬
tern has to be followed, ami
the particular needs of the
scene will determine how
if is handled. No /ii'o images
should be in the same place
on two successive draw¬
ings. or the eye will sense
a stop in the action.

aswator Ward Kimball -Pclcr and the Wolf, The car has
just come face to face with the wolf. The resulting take was
mule from two extremes„ each progressing upward about
half an inch. One set used odd numbers, the other even
umbers. The odd numbers have wide eyes, brows up, ears
up, tail smooth, and legs closer together. The even numbers
faji.-f’ round eyes, brows lowered, ears pointing out to the
■mit\ tail flaked out. and legs farther out with a small L f |f , J
trailing image. Mixing the two sets of drawings gives an J J 1rn
animated stagger that vibrates from the odd numbers to the
even, giving a shimmering effect.
 6. Appeal and Dynamics
FRED MOORE AND BILL TYTLA

seem to know when to top the heart/ Others have hit the intellect. We can hit them in an emotional way.
Those who appeal to the intellect only appeal to a very limited group. The real thing behind this is: we are in the
motion picture business, only we are drawing them instead of photographing them/1 Walt Disney

Fred However, his brothers did not know what they were
missing, because Fred really was a good athlete. Ten
Fred Moore never did get to be a big guy, and when he years later, when Fred was at Disney’s, he was known
was young he was much smaller than his brothers. as “the most coordinated guy in the studio.” Accord¬
They would all play baseball together, and, of course, ing to Wilfred Jackson, “He used to do all these gym¬
they always made Fred play in the outfield and never nastics. Fred could knock the ball clear out of the field
gave him a chance at bat. Finally, his mother made the where we were playing.” But he took a lot of kidding
brothers lei the little guy bat. But the first ball went about his size. Ham Luske w-as just enough bigger
over his head, and the second one came along the than Fred to call him “squirt.” He liked to get Fred to
ground; each time they would yell, ‘'Strike!” The stand back to back wiih him so they could measure.
third pitch was thrown behind him. “Strike three, Even when Fred wore his thickest shoes, he was still
you’re out!1' Fred would gel so mad he could eat dirt. looking up at the other fellows.

BRAVE LITTLE TAILOR

_ -RM 14-

n-wra (t/.nfi
tuny Jm*wEy

OxriyPscOtet-
oa r$it side of
Hickeys h&i
Koie tiinL
(JjT btJA
‘k'j&t ,v
disaster
tsMts^fotse
0s&n
 He really was a funny little guy, but it was not that “I knew you guys would think it was funny,” te
he was try ing to be funny. It was just that his propor¬ gasped. And the weird language continued to pour out
tions were cute, like his drawings, and it kind of tickled of the speaker,
you to watch him move around imitating someone like Fred was only eighteen at the lime he was hired. Hi*
Fred Astaire or Chaplin, or trying some fancy juggling art training had been limited to a few night classes he
act Even if the stuff dropped on the floor. Fred would got in exchange for janitorial work at Chouinard s An
always end up in a good pose—just like his drawings. Institute. He was given a seat next to Jack Cutting,
He could not seem to do anything awkward who was one of the younger animators. Jack said,
The thing that firmly established him as the top “Fred would sit there with his arms folded fora min¬
athlete among the artists was the way he could throw ute. then start drawing, He hadn't been there more
pushpins and make them stick in the wooden doors at (han 24 hours, and he was making these great draw¬
the old Hyperion Studio, He got so good that he could ings. I couldn’t believe it. By the end of a couple oi
throw two with each hand at the same time and make days he was starting to animate something. Everything
all four stick. This was an incredible display of timing came easy to him.“
and natural ability, because the average fellow cannot “Yes, Fred was just right for the time,” Ward
even be sure of sticking one at a time. But everyone Kimball says. "He was the first one to escape from
was trying to do it, and with all these pins banging the mold of the rubber hose, round circle school. He
against the doors there was an awrful racket up and began getting counter movements, counter thrusts, in
down (he hall. The noise got so loud that it carried the way he drew. He decided to make Mickey's cheeks
upstairs where Walt could hear it, and he could not move with his mouth,'which they had never done
figure out what was going on Gradually the competi¬ before because you drew everything inside the circle,
tion tapered off because Fred had mastered every way He squashed and stretched him more and was right at
he could think of to throw them; so he lost interest the lime, but Fred was a high school trained animator
except for an occasional toss behind his back or over . , . and he more or less emerged drawing that way]
his shoulder.
Nobody seemed to remember any development. The
Another thing about Fred—you would have to call rest of us eame into this place—it was a strange
it a personality trait—he could not laugh at or really place—-we adapted to it, and we kept trying, to improve
enjoy something by himself. He would keep the humor and change, and wre became students of it. Fred never
all bottled up inside until the right people w^ere around thought of that, he wasn’t a student of animation, he
to enjoy it with him. One night he wras working over¬ was just a natural, gifted animator, whose style and
time alone on Snow White and discovered how funny development was perfect, liming-wise, for that point
the dwarfs1 voices sounded when he ran the film back¬ in time.”1
ward to rewind it. He probably stayed awake half the Even the old-hand Mickey experts such as Lea Clark
night thinking how funny it would be to run the sound were amazed at w^hat Fred could do. ''Fred was a
backward for us in the morning
natural. He had a natural flow to his work. He couldn’t
The next day he was there ahead of any of us. make a bad drawing, really," This was because Fred
waiting out in the hall and about to burst with anticipa¬ was an intuitive draftsman, and it is questionable
tion. He pulled us into the room where he had the whether more formal an training would have advanced
Moviola all warmed up and waiting. “Wait til] you him. He just was not as oriented to classrooms and
guys hear this!'1 He stepped on the pedal and immedi¬ lectures as some of the men were. He would say,
ately these crazy sounds started coming out: “Yah, "Don Graham can give you the rule; I just say it looks
yah, yah, osker baby. (Forward this is, “He never better.1'
tried, hah. hah, hah.1') Then, “manik de middem,” This is probably the biggest thing Fred had going
which is, “I'm aginL 'em." The laughter that Fred had tor him: he had the ability to tell when something was.
pent up from the previous evening came out like a dam better one way than another. It is difficult to recall a
breaking, and we all doubled up laughing with him. "Freddie drawing" that did not have everything in the
 just did it." Fred could communicate his ideas through
drawings better than anyone around, and that is one of
the main reasons Walt made him a supervisor on Snow
White. It was not that Fred had any special leadership
qualities; it was because he had such great charm and
appeal in his drawings. When someone was doing
something well, Walt wranted everyone to benefit from
it.
Walt kept prodding Fred to make drawings for (he
experienced animators as well as the young ones, so
that all the dwarfs would look like his. This was a very
difficult assignment for Fred He would say, 4 Gee, I
can t go into some guy's room and say let me sit down
and make a drawing for you Walt keeps telling me to,
but 1 just can’t do it unless the guy asks me to."
tndy. It is hard to believe that a man with Fred's talent
would ever have any real difficulty with drawing, hut
top anima-
•ties, had a about every four months he would have his troubles.
ipproach to For two months he would be happy; then, in the third
Fred Moon? month, he would be restless and start searching for
something to stimulate him, looking at magazines and
at drawings by animators whose techniques were dif¬
right place The arms were always related to the rest of ferent from his. But he was not really studying as
the drawing, and even if he put them where they would much as looking. After that he would spend a misera¬
not be normally, (hey still looked right. The head ble six weeks or so trying to incorporate what he had
seemed to have the right tilt for the shoulders, and learned. He would have no end of trouble mastering
when he stretched something out he could make that the new ideas that he was trying to get into his work.
look correct, too, If Fred drew it, it was pleasing to Sometimes it was hard to tell, during this period, what
look at, and it was this pleasing quality that carried his Fred was talking about or what he was trying to accom¬
work more than the acting. plish, But finally he would come out on top and have
Lundy—
Fred could not express himself in words very well, another period of a couple of months in which he real¬
fit
but he had a feeling for what a drawing ought to be. ly was happy again.
n action on As Larry Clemmons says, "He was such a help to
typified his At times Fred felt that a different pencil would give
■ns attitude,
other guys. Guys would come in his room and say, him a new slant on things. When he could not draw
ed by Dick Fred, how would you do this?* Fred would say, 4 Wei I what he wanted, he was inclined to suspect the paper,
here! —and he'd show them—he didn’t lecture, he the color of the lead, or the weight of (he pencil. "I
 tton't know wtail's wrong with this pencil; it just doesn’t
seem to work anymore!" This prompted George Stal¬
lings’ 10 say, "You guys are like baseball players; they
have (heir slumps and their superstitions. They think
(hey have to have a special bat — their lucky bat —
and yon have to have your special pencil, . .
It was important that Fred be completely sold on his
scene and have nothing undermine his confidence while
he was working on it* because he could not work until
he fell right, The story business had to be right, the
layout, the staging, and the footage For his scene.
These were all the responsibilities of others, he fig¬
ured Then he had to fed right about himself. He had
to approach the scene with confidence, get his ego up,
He would say, "Tell me how good I am, fellows," We
always overdid it and told him that Walt needed only
one animator as long as Fred was around, and he
would say. J don’t need to be that good, it’s only a
little scene!1’ But laughter and the spirit of fun had to
he the atmosphere or he could not work.
When he was all square with the world and himself,
he would perch on his chair and zip, zip, zip—he
would go through a ten-foot scene in an afternoon, and
then have time to stand around and joke about how
true all those things we said about him were He hated
lo make corrections, believing that all one’s creative
energies should go into the first exciting, complete
effort, What came out sparkled and lived and applied,
and if you arc an emotional type this is the only way to
g°- Obviously, this procedure is based on confidence.
The drawings re Heeled it. and his speed and concen¬
tration showed it
Feed's great facility with his drawing fascinated every¬
one. It was uncanny the way he could pul his line
dow n with such accuracy—short lines or long flowing
lines, it made no difference. He could control them
 The Model Sheet Depart
ment had the responsibility
for distributing drawings
that showed the approved
appearance of a new char¬
acter, Ward Kimball was
quick to kid them by featur¬
ing himself in this facsim¬
ile model sheet, which has
better drawings than many
on the regular ones, show¬
ing plastic shapes, arti-
matable forms. and broad
attitudes,

fLtSVtt

^QMtSTY

tfAtOk-

KpCRAroct
P€RS:pLCftciTY
all. His [ire was beautiful; it almost had a quality of It was just the best use of the medium in showing
shading. When lie naturally made the line thicker at audiences what you wanted them to see. Over the
the bottom of the dwarfs' jowls, it gave them an extra years we have experimented continually, trying to make
feeling of weight and dimension- the most extreme statement of the change between two
Watt was very aware of the charm and pleasing expressions on the drawings. Ward Kimball seemed to
quality of Fred’s drawings and usually brought the go further in this exercise than anyone else, but Fred s
important visitors into his room. Fred found that the drawings moved just as well, Fred did not think in
visitors were particularly entranced with seeing two terms of extreme movement himself, but he was very
drawings; that could be flipped to show a change of impressed when he would see it in someone else’s
expression, such as going from a frown to a “take.” drawings. Albert Hurler did a drawing of Sleepy with
or a shift of the eyes that showed the brows and the his mouth wide open in a yawn, and once Fred had
face moving, the shapes animating, Fred commented seen something like that he could incorporate it into
over and over, ‘They love to see the drawings move his own drawings, making it look even better with his
an cl the characters think! Remember that! If s what natural sense of appeal.
they tike to see in our scenes. It's whal they liked with The more Fred worked with Mickey, the more he
Fergyhs Pluto, you know. We should always let them struggled with overcoming the restrictions of a charac¬
see the characters think!>f ter whose circular head and body the animators had
It was during this phase that the animators discovered traced from quarters or half dollars. He kept puzzling
the (rue importance of seeing the characters think by a about why he was not able to make the drawings that
change of expression. They were concerned with the would give him the acting he wanted “Suppose I
principles of acting w hen they stumbled upon that idea. wrant Mickey to be cocky, well then I have to make
 Fred Moore
Ltlc Wolves.

■ animator could him chesty—and that means arching his back. To do perspiring as he waited to see if Walt would notice.
hubby little pigs that I have to push some of the mass of Ihc lower body When the scene came on the screen, Walt called to
solidity found in
up into the chest* and I can’t do it with that rigid stop the projector! Then he had the scene run back and
wings of Fred
body.” As Les Clark also observed, ” Using dimes forth several times while Fred sat there and died. Not a
and quarters for Mickey's head was like moving a word was exchanged; then Walt turned to Fred, one
cut-out across the screen. We found out that if we eyebrow down, and said, *lNow that’s the way i want
pulled something out and then brought it back to its Mickey to be drawn from now onl"
normal volume, w hy it would look good. ” The anima¬ The squash and stretch of the walks that Freddie
tors realized that they would have to be able to shift animated had more life, felt better, looked better, and
that mass around, to drop it, raise it, squash it and probably seemed more real just because of his ability
stretch it for whatever the attitude needed. to change the shapes. He had such a simple, clear way
The natural evolution for Fred was to a pear-shaped of showing the straight leg, the bent leg* the shove off,
body, replacing the hard circle. Now he could get the and the highs and lows of the walk. He did not exper¬
flow and rhythm and flexibility. With these new shape iment with a walk in the same way Ham did, varying
relationships, he began to get a very appealing Mickey the timing and the relationships to get something
with stronger altitudes, better acting, and more per¬ unique, because Freddie’s was all feeling. He always
sonality. Mickey could be anything now—sad with thought in terms of a nice, pleasing drawing. He came
sloping shoulders, chesty, or angry with shoulders up. up with new things, but they were based on what
The head and body could stretch out, and the ears, looked right to him rather than an analysis. He had a
too, for a take or an accent in dialogue. Now the way of hooking his forms together that gave a nice
animators could forget about coming to work with all solid look. No one drew the three little pigs the way
that loose change for the different-sized Mickeys. Fred did, nor had the freedom that he felt with Mickey.
Bob McCrca. who was an assistant at the time, Mickey was not a design based on logic, there were
remembers that when Fred made some of his changes too many cheats. But that kind of problem did not
in Mickey's appearance he was nervous about show¬ inhibit Fred because he only would pick a view that
ing the results to Walt. Fred could not bring himself to looked pleasing to him.
tell Walt before sweatbox what he had done, so he was If a drawing looks clumsy, or lacks appeal, or no
looks like the model* perhaps the animator is
o show something that should not he shown, Fred Moore —
ARTIST;
Three Little Wolves,
Ted was giving a talk on drawing Mickey, he
ed, “How do you draw him looking right down The changing shapes in
of his head?” Fred responded. "Why would Fred Moore’s animation
gave a special excitement
If the appeal in the design of the character was to his extremely simple
n the balance of the ears to the nose, and the drawings and great clarity
ship of the cheeks to the eyes and (he head of actionr
STARTS ON PAGI-: 169
Fred wondered why you would deliberately
It 111 at away? Why would you show a view that
have as much going for it as possible?
personally sweathoxed all of Fred's early ani¬
on the dwarfs* and this included acting and animatorFred Moore—
Snow White -
[to the point where he even picked on the size
ger in one scene. For some reason Fred kepi The first scene Fred ani¬
mated on Snow White was
off fixing the finger; it just did not seem impor-
with this early model of
tigh to do right away. $o every week in sweat- Dopey. Later scenes re¬
alt would mention it again He would look at fined his appearance, add¬
le in question* and then as the projectionist ing charm and appeal.
un again lo the next scene Walt would turn to
(Isay, “That's it, Fred* the finger is loo big?1
: next scene was one that Fred was very proud
wanted Walt lo see* hut while it was running by
Duld be looking at Fred and holding his own
pand saying, “Yes, that’s it; the linger is too
Tien he would turn around and look at the
nd ask to see the next scene. In order to do this
 forget something! I oughta make a sign and stick it up
in front of me on the desk so 1 never make that mistake 1
again. But there are about a dozen things you never
should forget Instead of a sign, they ought to be on a
wheel; and every- day when you come in. you just give
that of wheel a turn and that way it would keep
reminding you!" So he started a list of the fundameiv !
tat things an animator should always remember, and
he discovered that he had 14 basic points,

FRED S 14 POINTS OF ANIMATION

1. Appeal in drawing
2. Staging
3. Most interesting way?
j Would anyone other than your mother like to see
it?]
4. Is it the most entertaining way?
5. Are you in character?
the projectionist would have to run back again for a 6. Are you advancing the character?
fresh start and he would overlap into the scene with 7. Is this the simplest statement of the main idea of
the big finger again. Then (hey would be off on another (he scene?
round of “the finger is too big." Fred would cringe S, Is the story point clear?
and wonder why he did not just sit down and correct 9, Are the secondary actions working with the main
that dumb finger. Week after week ihe sweatbox note action?
would! be like this one from October 25, 1936- 10. Is the presentation best for the medium?
11. Does it have 2 dimensional clarity?
Scene 26. O.K, for cleanup with changes: 12. Does ii have 3 dimensional solidity?
Make Dopey. Happy and Sneezy smaller. 13. Does it have 4 dimensional drawing?
Grumpy's arm and finger get quite large when he I Drag and follow through]
says. "SHE'S AN OLD WITCH”. The action is 14. Are you trying to do something that shouldn't k
okay, just cut down on the size of the finger and (he attempted?
length of the arm. [Like trying to show the top of Mickey's head!
The three characters in the right f.g, could be sil¬
houetted a little bit. The relaxed, unsophisticated manner that made
his drawings so great also made it difficult for
It is sometimes hard on the ego to take all the criti¬ Fred to adjust to Walt's constant pressure for new
cism that goes with sweatboxing, but Fred must have things. One day Fred came back from a meeting
realized that he was one of the few that Walt was using and asked, “Why does Walt always try to gel us
to set a standard of excellence for his first feature. to do things we can’t do? Why doesn’t he jusi lei
Eveiytime Fred got back a test with a mistake on it us do the things wre can doT'
or an action that did not please him, it would be because In the public's mind there have been no more
he had forgotten something basic, something he had memorable characters than the dwarfs, and Dopey
actually known for years. He would look disgusted in particular. Dopey seemed to reflect or contain
and sayh "Heck, everybody knows that. I shouldn’t so much of Fred himself—innocent, but with a
make a mistake like that. It's just because you always touch of mischief; naive, but with just enough
worldliness, There was nothing hidden or myste¬ had achieved all his goals in a relatively short
rious about Fred. Ilis personality was on the out¬ lime. He was quoted as saying, "1 have reached
side for everyone to see. What he lacked in sophis¬ everything I want, and I'm only twenty-four, Now
tication he made up in charm. He had honesty, what do 1 do?"
integrity, and was always witling to help the young He could not have realized that the very thing
animators. As Dick Huemer said. "He was the that made him great was nowr the thing that held
sweetest guy you would want to know." him back; this childlike quality that prevented him
'My God," Marc Davis says, "Fred Moore from growing with the changing standards, "Two
urn Disney drawing! WeTve all done things on animators whom I have always thought of as tragic
our own, but that was the basis of what Disney victims of this development in animation," said
stood for. It was certainly the springboard for Ben Sharpsteen, "were Freddie Moore and Norm
everything that came after. He had to be as close Ferguson, They simply did not have the back¬
to a boy genius as. ... He never grew up, and ground, the training, and the intuitive ability to
this is what he animated. He animated what he measure up to the best men we later had on our
knew, and he died that way—never growing up," staff. What is sad is the fact that they were not
The last ten years of his life Fred experienced secondary men; they both had been top men, and
disappointments and frustrations. He had burst Vm sure it was a crushing blow to their pride," ,
onto the scene in full bloom and, like some others On November 23, 1952, Fred Moore died as a ^
whose talents flowered early, he found that he result of an auto accident at the age of forty-two. tl
 polite to interrupt; so while he was wailing for his
opening he would unconsciously start making
funny little half-whimpering, humming noises, as
if he were tuning up to be ready when his oppor¬
tunity came, a kind of anticipatory sound,
Bill loved and believed in the characters he was
creating, but he was concerned about whether he
would animate them as well as he should. He
need not have worried, for he had the sensitivity

V-
// ifev' J
OGw 1!
/Vv ^

* ■ > h \ y
J
i/ L
Bill
Bill Tytla was the last of the four supervising
animators on Snow White to come to Disney’s.
Part of the great strength of these men was their
dissimilarity, and many would say that Tytla was
the least similar of the four. Dick Huemer said,
'"Bill Tytla was the brooding type. He was the
greatest/' Physically Bill was very striking with
his swarthy complexion and broad shoulders. He
had a big mop of coal black hair, heavy black
brows, and very piercing dark eyes. But more
than that it was what was under the surface that
made him stand out. He had great feelings churning
around inside of him and tremendous nervous
energy.
Bill was a very intense person, often moody • ■* f\,
and more often very emotional. In spite of these
volatile traits, he was a very shy, gentle, and
sensitive man. When he had something to say that
he fell strongly about, it would come out in spite
of any shyness. The words would literally pour
out of him, his mind working faster than he could
talk. If someone else was talking he would be too
l<> underhand his characters' motivation in ternis is true that the basis for these characters is found
of acting, and the ability to interpret that into in the story, but to capture Stromboli's mercurial
\
drawings and staging. He could portray the darkest moods, his lightning changes, and to show the \
evil and the most frightening terror. His powerful emotions that came from the inner feelings of his \
\
drawing of the devil in (he "Bald Mountain” characters was one of Tytla's greatest achieve¬
sequence of Fantasia was the most awesome piece ments*
of animation ever to reach the screen, and his His comments in Snow White story meetings,
Stroinbol i was probably the most terrifying and where personality was discussed, all show that he
truly evil personality of all the Disney villains, It was looking for that inner feeling and mood to

ANIMATOR: Bill Tyda —

Night on Bald Moirnlai

Powerful action„ sc
drawing, and dramc
staging helped to creat
character never even
tempted previously in t
motion, but it waj1 the f\
ing of an inner spirit,.
and primitive, shat ra
made him live on
screen,

r\ fi\
help him determine how the character would react. Perce: Let’s take Doct get him from scratch, and
Amid constant suggestions by others that there say, nobody knows him. First his most obvious
should be a special attitude in the drawing on each feature is his pompous attitude. He shows this pom¬
dwarf. Bill stubbornly came back to the same pous attitude with his chest. For instance, how do
argument: the way to get a difference in the appear¬ you see him. Bill, when he is pompous?
ance and attitude is by knowing the mood and the
personality. In a meeting on November 17, 1936, Bill: His pose is a reaction to something. It is only a
director and story man Perce Pearce picked Bill's reaction of what he is going to do, otherwise you
brains on this subject: are just making a drawing. Since it is up to Doc to
 then do a quick half gesture on the mistake, and
follow with a broad gesture on the—MEN, FOL¬
LOW ME. The half gesture is not too definite,
but just a nervous feeling.
Have Doc tum on the FOLLOW ME in anticipa¬
tion of walking out.
ANIMATOR: Bill Tyllii-
Snow White,
The range of Bill’s characters was phenomenal. His
This pompom attitude an
ability to get inside the innermost reaches of their
Doc came from the anima¬
tor's knowledge of what the personalities enabled him to develop great scope in his
character was thinking work. He seemed to understand the problems that his
characters faced as well as their feelings about what
explain to the group what is going on, he son of was happening to them. Could anyone's thoughts be
takes the leadership whether he is entitled lo it or portrayed in a better way than Grumpy’s after Snow
not. He immediately strikes that attitude He gets White kissed him? The audience literally could feel
flustered, and doesn’t know what he says, tries to the warmth that surged through him as he finally
make out—sort of a French Provincial Mayor's atti¬ released his bottled-up feelings.
tude. Grumpy throws him off balance. Doc recom¬ But, Bill’s most poignant scenes were of the little
poses himself and tries to regain lost ground. So far elephant in Dumbo, Bill’s inspiration for the sequence
we have had no opportunity to really try to do any¬ of Dumbo bathing came wdiile watching his own son
thing as far as mannerism or gestures are concerned playing in the tub, and his great perception enabled
—in so far as gestures react in dialogue. There has him to adapt lo animation the spirit of what he saw in
been no opportunity to use any scratching or Doc real life. His draftsmanship is at its best in this section,
fooling around with his heard. We have only had and there is excellent analysis of what to exaggerate in
dialogue so far. the action as the baby scampers playfully around his
mother. But through all this, the big overriding theme
While Bill's work stood out with all its power and is the elusive quality of love and affection that Bill’s
strength, its emotions and inner feelings, its pathos animation captures so beautifully.
and deeply touching moments, it is reassuring to the Many of Bill's characters were muscular like him¬
res! of us to know that he sometimes made mistakes. self, and when they came on the screen it was like a
In the preceding quote he explained very lucidly how charge of electricity. He made everything work for
he felt Doc should act in this type of situation, but in him, because he drew so well and felt the personality
the following sweatbox note from Walt it is evident so strongly. He wanted his characters to move in a
that be missed on the timing of the flustered feeling special way, to really live! He animated the head,
jutd its relation to the dialogue. Doc seemed to be an¬ body, hands, and drapery all in different colors. It was
ticipating his own mistake, and that was Bill's mis¬ not until he had each part working, communicating,
take, loo. and moving properly that he would make one com¬
plete drawing in black. The eyes, the mouth, the ges¬
Minch 5, 1937 Walt sweatboxing with Bill Tytla tures, and the secondary actions are are all brilliantly
Tytla Scene 8 Seq. 4D Original there in Stromboli. This character has been criticized
Make Due's “come on” gesture a broader one— for moving too much, making it hard to followr on the
not a point at himself on “follow me," screen at times, yet no cartoon character has put over
The feeling now is that Doc knows he is going to any better a rich, volatile, anti complete personality.
say HEN instead of MEN. He should say COME This character is extremely powerful and frightening.
ON, HEN w ith a broad gesture, seeming to com¬ Bill felt all these things through his whole body
plete it, acting as if he were saying the right thing. when he animated, always trying lo transfer his tre-
 mendous energy into his characters. T. Hee* recalls a was aware that Bill leaned a little toward the flashy
day during the making of Fantasia while Hill was style of drawing. So he made Bill hold his pencil at the
working on the E>evil in “Bald Mountain." He wanted very tip, He told Bill that if he knew what he was
to see Bill about something, but he opened the door to trying to draw and really knew how to draw it, he
Find the room in semidarkness, with Bill intently curled could do it that way. Too many artists have teamed
over his board. The only tight came from the glow of tricky ways of making a drawing look impressive,
the fluorescent lamp under Bill's drawing, which was even when it is actually “out of drawing" {inaccu¬
shining up in his face in an eerie way. As T. Hee rate), As Bill himself said, “A whole bunch of men
waited at the door he felt a tension and a mystical can draw the figure, but one or two of the men can do
force at work. Strange things were going on. T. was something to the drawing that gives a hell of a lot of
so unnerved by this sight that he quietly backed out meaning to it, whereas others in the group can impress
into the hall without ever saying anything to Bill. you. for the time, writh flashy stuff,"
Tytla had studied at the Art Students League in New Later he studied sculpture in Paris* which accounts
York with Board man Robinson, whom he regarded in part for the solidity and weight and excellent rela¬
\ tionship of forms in his work Because of this art
\ very highly both as a man and a teacher. Robinson

-I
).

V
i

Tyth
 animator BHITyria —
Snow White.

Grumpy made a great show

of indignation when Snow
White kissed him good-bye,
hat as he stomped auwy his
mood began to soften, until
the audience could feel the
warm glow permeating his
whole body.

background. Bill thought of his scenes more in terms My boss in New York never knew about a movi¬
of composition than most animators. He wanted depth, ola- he probably still doesn't. When he got a letter
not only in the drawing of the character, but also in the from one of the hoys here telling about the tests—
way it moved through the layout; so the total design of roughs, semi-roughs, semi-cleanups, cleanups and
(he scene had to be right. Ken Anderson says that it finals—then the whole thing is done over again, he
was difficult to make a layout that would please Bill; wouldn't believe it. My boss thought it was funny
he always had some adjustment that would make the as hell—-a bunch of fellows running around in hall¬
scene more interesting, have better staging, and be ways wdth pieces of black and white film in their
more dynamic.
hands looking for moviolas. He said, "When I hire
Bill was one of the few animators at that time who a man to animate. I want him to know how.1’
had any art training. He was deeply appreciative that The things done here now, [ would consider sen¬
the studio was looking for more quality and better sational, and I know the fellows back east consider
drawing from the animators, that Wait would go so far them sensational when they hear descriptions of the
as to set up his own art school under an expert like (raining and opportunities here But here at the stu¬
Don Graham.4 Bill and Don grew to have great respect dio those things are considered commonplace. The
for each other. It is obvious from Bill's remarks in a average fellow here doesn’t even realize what is
lecture to the young animators that this art school atmo¬ being shoved on him. He is being coaxed and en¬
sphere was like a breath of fresh air to him: couraged to better work, and he probably thinks it is
a pain in the neck. I really can l compliment Walt
When I first came out here about two and a half and the organization enough for handing out the
years ago, they started having action analysis classes stuli. There is no other fellow who will doit.
and I fell for them like a ton of bricks, 1 was in a
period between the old and the new stage of anima¬ Besides telling a lot about Bill, this material gives
tion. Running stuff in slow motion was like lifting a an insight into why the studio rose above all other
curtain tor me. Then swealbox sessions were another places, and it gives a graphic picture of Walt's philos¬
revelation. After all, it you do a piece of animation ophy and why there was such a thing as the "Golden
and run it over enough times, you must see what is Age.”
wrong with it. Formerly, I never saw what I ani¬ Bill could not stand (he ordinary. If you were inter¬
mated. We would catch a movie every two weeks to ested in your work, then you should take the pains to
see a scene we had experimented on for drawing, or observe and study and make your characters different
spacing or timing, but we couldn't get much benefit and unique. No two scenes should ever be alike and no
from one viewing. In the theatre they would only two characters should ever do something the same
run the picture twice—the whole thing whizzed by way. Bill put it this way;
and you forgot all about what you tried to do. And
unless you did go to the movie, you would never Stock methods of doing things are careless anima¬
see what you had done. Furthermore, I never saw a tion; very often, moreover, they are based on no
thing run in reverse except once in New York when observation at all. Frequently, some animator will
they ran a scene backwards of a fellow diving off a animate not something he has observed, but some¬
board. , , r
thing he has memorized that some other animator
 has done. In such cases, it is a matter of one anima¬ that is already funny to start with. You may get a
tor copying another, memorizing a lot of stock stuff. very dry piece of business to do. and no matter how
This is evident in cartoons where all the characters* you work at it, you will fed you can’t make it
regardless of personality, walk* run and move the funny, If you can make it interesting, you will have
same way. The animator has not given even a thought done a very good job. But if you can lake a piece of
to the personalities involved, to delineating charac¬ business that is dry and uninteresting and if you can
ter and personality through variations in reactions animate it so that it will be alive and vital, then as
and actions. an animator, I think you have fulfilled your duty.

Bill was intolerant of any animator sloughing off on Not every aspect of Bill’s animation can be properly
a scene just because it did not interest him. His advice analyzed, for his thinking was complicated and in¬
on an animator’s responsibility has become a classic: volved. However, it is interesting and enlightening to
at Hilt
linking list the components that are found in Bill’s work. In
iraeter Another thing in animation. When you start you his best animation they are ail there. It takes steady
will probably wish that you could get a lot of stuff concentration to have this knowledge and skill at your

•th trt movement

1 the rough ex~
Grumpy's deft-
fingertips and be able to use it right. Like a baseball Timing
pitcher who has that momentary lapse and gives up a Solidity in drawing
home run, the animator can get himself into a hopeless Power in drawing
situation through lack of concentration This list of Strength in movement
components in good animation is quite an imposing Imagination
group to combine in any scene; any one dement on the
list is a challenge to the best of animators; Bill had done a scene on Pinocchio that he and the
other animators thought was great. 11 Well, it's good,”
Inner feelings and emotion was Walt’s comment, “but it's not what I'd expect
Acting with clear and definite action from Bill Tytla," Bill was crushed. For a time, like
Character and personality many highly emotional, sensitive, and creative peO’
Thought process through expression changes pie, he found it impossible to work. A week, maybe
Ability to analyze two weeks, passed before he gradually started to search
Clear staging around and explore other possibilities. In the end he
Good composition did find a better way, and Walt liked it, This had been

Pinocchio
terribly hard on Bill, but he had been shown some¬ powerful devil or the tenderness in Ins handling of the
thing about his own great capabilities, that he had poignant Dumbo scenes. What others do must be dif¬
more to offer than lie realized, and that was why he ferent, for as both Fergy and Bill said. “It is too
loved the studio. limiting to copy someone else.” But it is not out of
According to Ben Shurpsteen, "Tytla somehow got reach for those who feet as deeply as Bill did, to do
pegged as an animator of heavies. After Snmv While something equally greal in their own way.
he was cast on Stromboli in Pinocchio and the devil in No one thing seems to explain (he reason for Bill's
the 'Night Ori Bald Mountain' sequence of Fantasia, departure from Disney’s in 1943, (hough changing
Walt made quite a point of Tytla and his abilities on studio policies and the feeling that his family would be
Ihe latter character. He built it up as a special fea¬ more secure during wartime on bis Connecticut farm
ture.” Wilfred Jackson, who directed the LL Night On were certainly strong considerations. In the Last, Bill
Raid Mountain” sequence, describes how he and Bill continued in the animation business as both animator
Tytla worked together on it; and director, but he was never again to find the self-
fulfillment and persona! gratification (hat he had found
I was told hy somebody, maybe Walt, l was sup¬ in his work during those great days at Disney's. Bill
posed to get |Bela| Lugosi and shoot live action. So died in 196K.
we got him and he looked upon it as an actor’s job,
but this was not what Bill wanted. He was inter¬
ested in the movement. Lugosi started showing him
how he could unwrap his wings like that and we
were getting along great, but Bill was having an
awful time—he was telling Lugosi how he should
do it. Finally Bit! gave up and went over in the
corner and sulked, so 1 got the best stuff I could out
of it and after it was over Bill said, "Jack, I don’t
like what he’s done. 1 tike the way you do it: won’t
you take your shirt off and get in front of (he cam¬
era?1' So l look my shirt off and he ran the music
and we used that stuff. Yeah, the photostats of
skinny me. We never told Walt. Bill and I made it
up in the music room before Lugosi ever came. then
I just went through what I had been doing w ith Bill.
Each lime we’d do il he d say fine, l even did the
hocus pocus thing with the little guys on my hands.
I'm not sure Wall intended to have such a power¬
ful character, but when you have a piece of anima¬
tion like that you’re not going to turn it down.

Someone once asked, “Who replaced Bit! Tytla

when he left?” The answer was, of course, no one—al¬
though someone may have taken over his assignment.
Rill Tytla. like Fred Moore, Ham Luske, and Norm
Ferguson, brought his special magic to the screen, and
when he left that particular way of doing something
disappeared with him. Il would not be possible for
anyone else to duplicate Bill’s way of animating the
7. Hyperion: The Explosion
“My greatest reword is that I have been able to build this wonderful organization," Walt Disney

Many a philosopher has observed that a person's phys¬ tvAt-f f-Trf.a

i-i . i-'iir Vi-J! Miv
f ■■
ical environment greatly determines how he will behave r S i*-.- ,

and what he is apt to do. One historian of animation ■ >t

has claimed that the old studio on Hyperion Avenue at

the far eastern edge of Hollywood was largely respon-
stole for the innovative and imaginative thinking of
the artists who worked inside The studio was indeed
unique but then it would not have been fitting for
Walt's studio to be like any other place of business.
From an insignifleam beginning, the studio seemed
gradually to take on a life of its own and grow like the
magical world it was creating. The original building,
first occupied in 1926, was a mere 1,600 square feet
and was hardly noticed on a quiet street that meandered
down a small valley. Next to it was a pipe organ
factory , but there w as space behind and a vacant lot on
the other side that gave plenty of privacy. That f irst
building could hold some twenty men at most, so it
was not long before an addition was needed. The organ
factory was purchased and combined with the Disney najjgr
Studio.
Within months still more space was needed; the
carpenters returned, and soon the little building was
bulging and protruding in unexpected places. In 1931,
Walt decided to put an end to this makeshift arrange¬
ment and to build an edifice especially designed for
animation, with an office for each animator and his
assistant, and two rooms for directors. Hours and hours
of planning went into the design of this "perfect*'
building, but it was outdated before the paint dried.
First, there was only a small addition to it, then
there was a connection to another building, then some¬ with added bungalows and things on lop of things,
thing out in back, and then suddenly a whole new, including, finally, a special Ink and Paint building that
immense two-story structure. Soon the studio flowed used all the property up to the street on the east. The
clear out to the side street, then back the other way. studio was spilling out in all directions.
 across the street- In the main building the rooms were
so small and every one was so jammed in together that
if one guy wanted to get out, all the others had to
move their chairs to let him through. With everyone
that close, there was an exchange of ideas as well as a
lot of funny incidents and gags that would not have
happened otherwise. Walt kept trying to shield his
animators from distractions and annoyances that would
drain their creative energies* but, actually, more growth
was achieved through this arrangement than if we had
been spread out in neat rows.
Exciting new things were happening all around us,
and this close personal contact and the crazy associa¬
tions kept us stimulated. We were all trying to outdo
each other in thinking of screwy actions, deliberately
There was also a building across The street that had trying to be different, to be funnier, to come up with
been built complete with a skylight facing the north an unexpected gag in every thing we did—away from
for the art classrooms* offices for Don Graham and the studio as well as at work. One of the early anima¬
visiting artists, and endless cubicles for young hope¬ tors, Art Babbitt* said* “Each lest you did, you tried
fuls learning the craft. The shape of the peaked roof to be as inventive as possible so the other guys would
immediately reminded Walt of the chicken sheds he comment/"
used to know as a boy, so he dubbed the building Unless a gagman is thinking “funny’ ’ every day, he
“The Incubator/5 Before long, he added to the back might find it hard to think of an unusual gag when he
of that, then installed pens beside it for the animals needs one* and wre were determined always to see the
needed for study and drawing. Like the cooking pot in unusual in the world around us. All a man had to do
the fairy tale that continued to produce oatmeal because was stumble over a chair, or knock something off 4
someone forgot the magic words, the studio continued desk, or just make a chance remark, and immediately
to sprawl and spread and cover the whole area in a he would be inundated with gag drawings, building
slow-motion eruption There were tunnels and pas¬ the situation to outlandish proportions. It looked like a
sageways and bridges and little doors* and partitions waste of valuable lime* but, actually* we were alt
were pul up and taken down, and walls were moved, learning our most important lessons in staging and
and projection booths were made out of conference communication. If the gag was too obscure* if the
rooms and offices and even closets. As Parkinson's drawing was not funny, if it was not something that
Law states* “During a period of exciting discovery or could be understood instantly, no one laughed. This
progress there is no lime to plan the perfect head¬ amusement actually was better training than develop¬
quarters/"1 ing business in the pictures, where it would be weeks
When every inch of open space had been filled, before we would know if the gag was funny, or the
neighboring buildings were purchased and converted— right thing, or whether it even had heen understood.
apartment houses* bungalows* offices, any structure Gags were also a very good way to relieve tension.
that was near and could house artists and story men. In Ward Kimball says* “It was this dose exacting work
speaking of his own experience in those strange ac¬ we had to do, , . , You had to let it out* so all of a
commodations, Mel Shaw2said, “John Hench? Oh, sudden you'd stop and let off steam. We'd all sit down
yes, he had the kitchen of my apartment. . . . 1 had the and draw gags.” The drawings became broader and
bedroom and hath/" The artists who were not on the more preposterous by the day, yet there was always an
main lot felt left out and isolated. Alt their hopes were element of believability in them, because at the core
based on “stepping up" someday to the main building they wrere based on some quirk in a particular fellow's
artist- Frank Thomas.
Someone suggested that sun lamps be installed so
animators could look more healthy. Immediately, the
gags began pouring in. Here, Frank Thomas, Mtli
Kaki and Oilie Johnston are depicted as needing far
more than a tart.

personality. This incisive understanding of personality

brought on elaborate practical jokes as well, We had
to have some idea of an intended victim’s reaction to
the gag, or it would be hard to see the possibilities in
While VipPartch ivaj an assistant animator, his draw¬
it. This same approach was used daily in working out
ings showed the staging and insight that later made
him famous as a commercial cartoonist. Above, ' The the gags and situations for our cartoon characters. If
Gag" catches the precise attitudes and expressions of you had a Donald Duck short, immediately everyone
the fellows looking at a new gag. Below. Vips ver¬ knew what type of gags to use, what situations would
sion of Oilie Johnstons animation unit. When fold he
be funny. It wras easy to find business for Donald
had to get an inbetweener to move (he work faster,
Vip caricatured the only type of personality he felt he because we all understood his personality.
could control. Left, animators Oilie Johnston and Ken The butt of the studio's most elaborate practical
O'Brien. joke was an Englishman, Ted Th waites. The men who
worked with him had sized him up as being rather
square and had planned the "business" in their little
scenario accordingly. Floyd Gotlfredson, then head of
the comic strip department, relates the story as follows:

The whole thing happened in the comic strip de¬

partment and the principal characters were Ted
Th waites and AI Taliaferro. We all worked in the
back room of the annex at Hyperion Ted carried his
lunch in a brown bag and every day brought in a
small can of fruit cocktail and he loved it so much
and he smacked his lips over n and he'd tell Al, “I
just couldn’t eat a lunch without this.”
So this started Al's brain to working and one day
he brought in a can the same size, a can of mixed
vegetables. When Ted went out of the room he
would always tell A! where he was going. So the
minute he got out of sight, Al would jump up and
take the label off, and put rubber cement on the
thing and wail til it almost dries—and just switch
the labels from the mixed vegetable can to the fruil
cocktail.
So Ted came back the first time and he opened
(his thing and he actually took a spoonful of the
stuff before he noticed it was not his fruit cocktail.
Al, of course, was watching him. Ted stopped—
then he took another spoonful of the stuff and he
looked at it and he says, ”1 can’t believe this,” He
was still very British and very gullible. He says,
“Something’s wrong here.” So he shows it to Al
and Al peers at it and says, “What’s wrong? What
is that'— vegetables?”
Ted says, “Yeah! Look al the label—this is fruit
cocktail.”
Al says, “That’s strange.”
So between the two of them they decided I hat
some way the labels had gotten mixed up al the
canning factory. There wasn't anymore said about it
except Ted went around and told everybody in (he
department. He couldn’t gel over it. So AJ let it go
for three or four days and then he switched labels
again, and Ted said, “The only way I can explain
this is that they must have mixed up a whole lot
shipment—just imagine! These things are on (he
shelves of markets all over the country .”
Al did it just far enough apart to keep Ted in¬
trigued. He’d have peas or carrots and even hominy
one time—and Ted had never seen hominy before,
To put a little variety in the act, Al reversed (he
procedure and put a vegetable label on the fruil
cocktail can.
“Thai's crazy!” Ted says, “1 know I bought
fruit cocktail this morning—Al, look at this.”
Al says, “What’s wrong with it?”
Ted says, “That's mixed vegetables!”
AI says, “Thai’s funny. You must have picked
 it up by mistake.” So, he opens the can and it has
fruit cocktail in it.
Finally it was Ted himself who said, "Well I
really think this is an item for Robert Ripley’s Believe
h Or Not, I think 1 should write it in to him and
maybe I'll get some money out of it.”
So we all agreed and by this time everybody knew
about it, and he actually wrote Ripley, After he had
written to Ripley, we knew we had to do something
to pay this whole thing off We wondered for two or
three days wrhat we eould do. We figured it would
lake eight days before he wrould expect art answer.
The plan called for this last can to be mailed to
Thwaites, with appropriate King Features ’ labels
made up by the comic strip men and w as to contain
a rather potent message from Mr. Ripley. But At
couldn't leave it alone. He had to switch one more
can and Ted came hack too soon and AI had to rush
it,
When Ted came in and ate his lunch right after
that and he picked up this can and the label slipped
off the can and here was this wet rubber cement. He
stopped and looked at it for a minute, then he says
in his British accent, “You so and so’s. Suddenly
everything is clear to me, 1 know what's been going
on here!*' dreamed of and did not understand. We did not know
how any of the effects were achieved or who had done
Wall was keenly aware of the creative process and what and how it was painted. Even the inked cels and
did nut criticize anyone for taking time off to do gags. backgrounds did not look like anything we had ever
He seemed to be aware that we were sharpening our seen before. Unknown to us„ Walt had hired color
skills. The only thing he used to say was, “Why don’t experts and engineers and had been experimenting with
you get some of that in the pictures?*' new ways of lighting and a multiplane camera and all
The place was expanding so fast it seemed as if it sons of things. And w hen we talked with fellows like
would burst at the seams; it was teeming with new Claude Coats,4 who had been working on the picture,
people everywhere, and there were new artists coming we could tell they were almost as surprised and bewil¬
in almost every day. We were all squeezed into little dered as we were, “Oh, 1 don't know. Well, it was
nooks and crannies and so busy and excited that we just like any other picture. We tried to do what was
eould not keep up with what our friends were doing, needed; we had our problems and our battles; we had
We were always in loo much of a hurry to wander our troubles, . .
around the studio and say, “What do you do?" Then, Each new picture contained breathtaking improve¬
one day, a newly finished picture we had never heard ments; the effects were better, the animation had more
of would be shown for the staff—such as The Old life, and the whole studio had an upward momentum.
Mill. Where did it come from? Who had worked on it? It was like being a player on a winning team! To us,
And more important, how had they done it? all this was pure magic. Our own efforts to stage a bit
Our eyes popped out when we saw all of The Old of business or get a character to come to life in an
Mill's magnificent innovations—things we had not even interesting way—while keeping our Footage up and
 on, really, was the invention of animation. Animation
had been done before, but stories were never told,''s
Milt Schaffer remembers a meeting in Ben Sharp- ;
Steen’s office of all the young artists. Ben told them
this was going to become a great artistic medium, and
they were all really going to work—that they had not
even begun to learn animation yet. In the course of hh
talk he said, "It will be with you like it was with
Michelangelo. When you guys are about sixty-five,
you’ll be ready to hang out your shingle." Milt says
they were all impressed, even when told they were not
going to be any good until they were sixty-five—even
that was encouraging! All of this determined the qual¬
ity of animation that would be done. It grew as an an
not getting bogged down—at times would get us so form because everyone cared—and not just in the ani- !
involved that we would lose sight of where the studio mation department but throughout the whole studio.
was headed. Everyone was working hard but few Out of this creative cauldron came the exciting div
complained. If there was not always exhilaration in covery of life in the drawing, and with it came a new
the work from day to day, the employees would be way of looking at animation. Now the animator could
filled with awe and overwhelmed with disbelief when do more than entertain the audience with funny little
a new picture was projected for them. Where were movements in sync to sound; through this important
we going? What was to happen with this cartoon revelation he could make the audience believe lit hh
medium? characters.
There were not enough hours in a day for one per¬ To bring a character to life, it is necessary to imbue
son to keep up with all the new ideas and inventions each single extreme drawing of the figure with am
and procedures, let alone deal with the imaginative altitude that reflects what he is feeling or thinking or
concepts and ideas for future productions. But one trying to do. No scene is any better than the sum total
man did! And he miraculously rode herd over hun¬ of all its drawings. Life must be in every drawing
dreds of enthusiastic employees. As someone said, There should be no drawings that merely move ihe
" If Walt had done nothing else, he would be remem¬ character from one spot to the next. In other wods,
bered for bringing together 1000 artists and story men the life and vitality comes not from movement or lim¬
and controlling their work. No one in history has ever ing alone—as it did in the early Mickeys—but from
done that/' that ability to make the single drawings come alive.
Mary Tebb, who started with Walt as an inker in The animator must incorporate into his work some of
1927» explained her feelings this way: ‘‘That dedica¬ the power and artistry of men like Honorc Daumier,
tion wras the greatest thing in the world—our dedica¬ As Daumier himself said, "If my drawing does not
tion to Walt and the product, our unquestioning attitude. convey anything to you, it must be bad, and no cap¬
No one ever said to Wall, ‘Aw that’s too much work, 1 tion can remedy that. If the drawing is good you will
don't want to do it/ Oh no, you’d take it home and be able to understand it."6 There was hardly a ges¬
spend all night if you had to Walt had something, that ture, mood, or human relationship that Daumier did m
power, h was just his personality, his genius, l guess/' illustrate.
“It wrasn’t that you had to do these things," Marc Animation was beginning to mean something dif¬
Davis said, “You wanted to do them. You were so ferent to each of us, and everyone was surprised at the
proud. Every write-up the studio got, everybody went definition one employee found in the dictionary, "Most
out and got it. Very few people have ever, as a group, people think the word ‘animation’ means movement,"
experienced that type of excitement. What we were in he said, "but it doesn't. It comes from ‘animus’ whiefc
means life or to live," Making it move is not anima¬ Andrew Wyeth had comparable feelings about a
tion, but just the mechanics of it.”7 painting he was working on and expressed them beau¬
In the early pictures there were indeed glimpses of tifully in these words: iLAnd then finally when you get
this "life,” but since no animator really knew, then, far enough along in a thing, you feel as (hough you’re
what he had done, it was impossible for it to be living there—not just working at a painting* but actu¬
sustained over a series of drawings, in 1934* The ally working in that valley. You're there."''
Flymg Mouse, with its pathos* turned the comer— This is possibly what saved the animated cartoon!
more than any other early film—from stock gags to The whole conception of a scene became different. A
emphasis on personality, and it was immediately appar¬ new type of business was demanded from the story
ent that this communicated better with the audience. department* planning that would involve showing a
Later, the great animation on Figaro in Pmocchio, the wide range of emotions through the feelings of the
dwarfs, and the little ugly duckling were all exciting characters. Story men now had to think up situations
steps ahead in this new' development. People responded that would draw an audience into the picture, situa¬
to these characters through their feelings—something tions that required acting that derived humor from the
rarely achieved in a cartoon before. characters rather than just gags. And if there was a
The concept of instilling life in cartoon figures gag, it would now be a real personality that was partic¬
changed the role of the animator from a kind of creator ipating in it rather than a stock cartoon character Truly
who sat back and watched in a detached way as he put the age of the animator arrived with the first crude
his character through amusing antics to someone who evidence of life in the single drawing,
now found himself living inside that little person on The arrival of the latest test film was the high point
his drawing board. If it was a terrified Pinocchio locked of the day for animators. Some wag likened it to a
in StrombolPs cage or a shy Rambi at his first meeting maternity hospital when the babies are brought to their
with Faline, the animator had to live every minute of it mothers. But there was so much discussion before a
or it would not be in his drawings. scene was done and such high interest in what new
too ko

NQt£ "0
(Lff-ir
«

«tj o M
ARTIST, Bill Roberts—
Alpine Climbers.

Pluto knows he is hanging

on a ledge but not how high
up. Reaching about with
his fanny he fails to locate
solid ground, so he takes
an apprehensive look. Dif¬
ficult to stage and animate,
yet this was the type of
scene Bill Roberts liked to
do. His maxim: never lose
the personality of the char¬
acter in either a long shot
or a wild action .
experiments might be in each other's scenes, that we addition of "Mr.” to his name. Still, he deserved too
could hardly wait to see the film of what had been much respect to be called simply, "lirn," so some¬
tried. The halls echoed with the clattering of film in how a compromise was reached whereby his name
the Moviolas and, soon after, the sound of feet running wras run together like one word; “Jimverity."
through the halls. "Hey, have you seen Lundy’s test? In the late thirties, specialists in other fields were
It’ll kill ya!" being added to the staff, mechanics and engineers
One day Bob Carlson was trying to complete a scene whose salaries could not be assigned to any specific
of his own while this activity was going on outside his job. Walt did not know where he was going to use
door. One room in particular down the hall had attracted these men some experts from machine shops, others
quite a crowd, as the film was repeated over and over. graduates from Caltech—but he knew1 he could not
A film could be run through the Moviola as many pursue his dreams without them. When he wondered,
times as you wished without stopping, because it was "Can’t we find a way to , , . 7 " he wanted a man at
always fastened together in one continuous loop. Often, his elbow who could say, "Well, let me work on it?’
if it was a long scene, some of the film would drag on Eventually the studio had eighteen highly skilled
the floor as it made its round trip through the machine. engineers, headed by Bill GarityC designing, build¬
As Bob Listened he could hear the pattern of hushed ing, creating, experimenting, extending ibe capabili¬
expectancy, the clatter of the film, the explosion of ties of the animated cartoon to reach new heights, new
hilarity, the buzz of voices discussing, congratulating, achievements, Walt personally directed their efforts
suggesting—then the hush as the action came around and chose the areas for experimentation, but someone
again. Finally Bob’s curiosity got the best of him and else had to find the category on the production chart
he had to go down to the room and see what was on where their talents and salaries seemed to lit.
the film. The room was packed and it was hard to In 1935, most of the country was still wallowing in
crowd in where he could get a view of the Moviola the Depression, and fewr companies were hiring, so a
screen. Just as he got a clear view between one fel¬ job was a very precious thing Where once Walt had
low's ear and another's shin collar, the film ripped. worried that he was getting into the business too late,
There was a groan of disappointment, and alt eyes actually it seemed that the timing was perfect tor him,
angrily followed the limp film down from the Movio¬ and be was able to pick and choose from the creative
la, across the floor, between all the feet, and over to talent of that period.
one big shoe that had stepped squarely on the film— But there were tensions and anxieties for those
Bob's! seeking the jobs, since competition was very keen and
Walt liked to have people around him who could only the most outstanding were hired. All manner of
make things, build things, create with tools, If he had hardships were endured to get and keep a job. Some of
an idea for a better use of some space in the building, the uncertainly of the times is reflected in the recollec¬
he wanted to be able to call a capable man immedi¬ tions of Betty Ann Guenther about [he apprehension
ately and ask him, "Can't we do something here to that characterized tryouts in the inking department:
move this out and get a thing here? , . Or if he “Every Friday was Elimination Day, and we all shook
wanted the camera to operate in a different way, "Can't in our boots, for fear we would be let go. Everyone
we put something on here that will make this thing go was so scared and worried they could hardly relax
around this way and , , .7" His respect for the men enough to do their wrork.”
who had these skills was shown by the fact that while Ann Lloyd added, “It's a wonder we learned to ink,
everyone else in the studio was on a first-name basis, we were so nervous, and it really takes a loose arm
the carpenter who wras retained full-time was always and relaxation to get this technique, and wc were nerv¬
"Mr. Rogers.” The only other man to have this mark ous wrecks ail the time.” They needed the jobs desper¬
of respect was Mr. Keener, who was the paymaster. ately, but it wras more than that; it was the innocence
The other craftsman wrho could do a little of every¬ of that period, young people hoping they would be
thing was Jim Verity, but he did not quite merit the good enough and that they would be liked.
 On Fridays, their ranks were thinned down. There
were many tears and hysterics. But those who survived
had real dedication and the sense of accomplishment
ihai would go with weathering such an ordeal, The
supervisors still ruled (hem with a firm hand even after
they were taken on, being stem and demanding in
their criticism and exerting extreme pressure on every¬
one to do it faster and better.
(came here right out of high school,” says Kath¬
erine Kerwin, “Land in those days you worked or else.
Nobody had cars, . . , it was really difficult.” Many
of the young people traveled as much as two hours
each way by bus and streetcar to get to work, and they
often worked till 10:00 at night on Snow White. Kath¬
erine was asked to work all night on occasions* and
she said she was pleased that someone would ask her.
'The people were ail so young and had so much ener¬
gy, and what they could give, they gave it.” '[’he girls
were all eager to learn and went to night classes* too.
They loved to go to the theater when the pictures came
out and excitedly pick out the scenes they had inked or
painted.
"Il was always a thrill when Walt came by*” Ann
Lloyd says. 11 He didn’t come often, but he always
came around at Christmas with all these gifts. He felt
the girls had been working very hard so he brought a
present for each of us.” And one Christmas when
there was no work he gave the girls a week’s vacation
instead of laying them off. Walt was shy and uncom¬
fortable around girls,” Katherine adds affectionately,
”so they didn't see that much of him* but they loved
him* and he appreciated how they helped him,”
With so much intensity in the air, and Walt’s man¬
aging everything* and the staff passing the thousand
murk, there were the inevitable inequities and some
disgruntled employees. Mainly, the problem came from
an individual's feeling left out or passed over. This
produced a kind of bitterness and a sullen attitude, but
the really explosive reactions came only as the result strenuous effort* And when you finally have it on
of an individual's work being cut out of a picture. The paper* you have stated* just as clearly as if it were
ait of animating is very, very difficult: first, becoming written, your inner feelings about how this thing should
committed to your way of doing the scene; then, once be done. Then to have your own personal statement
committed, combining all the elements that give it challenged or criticized or cut from the picture—for
life—the drawing, acting, staging, timing—while being whatever reason—is a staggering assault on the ego*
sure that it all adds up to entertainment For someone At times it was terribly hard to deal with Walt’s
besides yourself, This may take days or even weeks of exacting demands, and often a proud young artist found
himself becoming belligerent over some fault found in barrel, and since no one knew who it was he seized
his work, it was not always criticism either; some¬ upon this incident as a permanent device to keep us on
times it was just the lack of a compliment that hurt the the defensive Through the years, the term "Stick to
most, 'J he majority of us had become accustomed to Shorts’ became synonymous with poor judgment If
having our work criticized, hut we had never been in a you were trying to sell an idea that did not jell or go
situation where we cared so much Love and hate are over in a meeting, suddenly there would be this loud,
closely allied. You hate only if you are deeply involved “Ah haaa!” and Walt’s linger would come shooting
in something. out toward you; in a triumphant voice he would explain,
Volatile storyman Bill Peet once became so angry "You must be the guy who said 'Stick to Shorts!'"
over Walt s criticism that he threw ink all over his And tor that day you were the guy, and everyone else
wall after the story meeting was over—and left it there would keep looking at you and wondering. The best
in defiance. Walt pretended not to notice for a long thing you could do was to become as inconspicuous as
time; then, one day. when things were calm, he turned possible. Some of the men insisted they knew who the
to Bill and said, "What the hell's all that stuff?" and real culprit was and thought that Walt knew, too. But
told him to "clean up " his room. Walt understood the if he did, he was too smart to let on, and he never
intensity of commitment that Bill and the rest of us relented in his continuing search,
had for the work, and he never wasted an opportunity Walt felt that every idea had been thought of, every
to take advantage of this commitment. gag and even every story—the key was how you used
In an early screening of Snow White someone had the material to express your own work. So he was
written on an unsigned questionnaire the startling reac¬ never concerned about where an idea came from. One
tion, ’ Stick to Shorts," little knowing at the time that day he stopped a young artist in the halt and compli¬
he had touched Walt in a most sensitive spot That mented him on his drawings of Pinocchio10 When the
remark would haunt us for the next three decades. It animator started to say that he was just trying to draw
indicated to Walt that there was a rotten apple in the like the other fellows did, Walt Interrupted to say, "1
don't give a damn where you get it. Just keep doing the picture to patch up. repair, or re-animate work that
it." lacked the illusion of life. In the long run, this ruined
Wall tried to make best use of what talents his their own appearance on the “time charts.” and with
employees had. Obviously, not everyone cared. As it a chance for any sizable bonus. The bonus system
Milt Schaffer says, "‘There were all varieties, some did not produce better pictures—or even good ones.
more worldly wise than others, some cynical, some Few regulations do. Efficiency is better built through
eager beavers.” The practical-minded adopted! the view dedication rather than speed for its own sake.
that it was just a job. Walt was continually searching Surprisingly often, confusion arose from not know¬
for incentives to get this group more involved, to get ing what was expected of you. It was even hard to find
the maximum effort from everyone. He had used the out whom to ask, and this caused uncertainty and cre¬
bonus system of balancing salary against footage out¬ ated uneasiness about one's position. There were sim¬
put as early as 1933, and, in spite of repeated failures, ply too many people after a while to notify about
he continued to believe that it held the answer. But the everything. Anxiety over this lack of communication
system had an inherent weakness: the largest rewards sent many people scrambling around looking for ways
went to the swiftest rather than to the best. Certain to protect themselves—to shore up their jobs. To do
men look a very pragmatic view of this opportunity this, some began forming walls of people around them,
and spent most of their time looking for shortcuts, secretaries and assistants or whatever. These “Em¬
often giving (heir lesser-paid assistants much of the pire Builders,” as Parkinson might have called them,
work to do. “wanted to multiply subordinates, not rivals.”31
This left the burden of responsibility for quality to However, if anyone started taking himself too seri¬
(he conscientious animators who felt that the picture ously, he was certain to become a target sooner or
came first. They could not stand by and watch inferior later. One new employee in management was quite
quality make inroads; so they took time from their officious and tried to reorganize the workings of the
own work to do whatever was necessary throughout studio overnight with a flood of memos and orders, all
 in(imating that they were Walt s wishes, He was very failed to get approval, or Wralt changed his mind,
busy and very stuffy and very gullible. One day as everything was adjusted in the morning meeting.
storymen Ted Sears and Webb Smith got in the eleva¬ Supposedly, each unit manager was responsible lo
tor they were joined by this bustling young executive, his unit director, who told him each day exactly what
Casually a conversation started as Ted asked. “Hey, he needed and when he had to have it. But often the
Webb, been meaning to ask you—did Walt send you unit's representative would return to his home base to
your elevator pass yet?” Webb, kind of mumbling, report that they could not have any of the things (he
llMy elevator pass—lei's see , . feeling around in director wanted. After hearing his job redefined by the
his pockets “It’s here somewhere.'1 Their companion irate director, the unit manager would then come down:
was drinking it all in. They could see he had taken the the stairs to vent his pent-up feelings on people who
bait already. Webb continued as he got off the eleva¬ could not tight back. The normal procedure would be
tor, ’’Yeah, it came yesterday; maybe the day before.” to come over to the artist’s desk, without a cheer)1
The indignant executive made a beeline for Walt's greeting, check the number of the drawing on his board
secretary, “Where's my elevator pass? How come you and match it to the exposure sheet with an insinuating
didn't send me one?” mumble: "Hmm-mm, we're still on this part, ch?
What could the secretary say ? She did not know Didn't get over onto the second page like we thought,
what he was talking about. And neither did Walt! did we? Can we count on this scene by 4:00 o'clock
We gradually developed so many separate units of this afternoon? We’re up next in Ink and Paint, you
directors and layout personnel on the features and shorts know, ”
programs and transition sequences and special effects All in all„ the unit managers slowed the work down,
sequences that there was a constant traffic jam on (he yet on paper they looked like the perfect solution to
recording stage, in inkers, in camera, and even in our chaotic cross-purposes. It was interesting to dis¬
inbet weening. Some way had to be found to schedule cover that when the studio cut our personnel in half
and simplify so that the best use could be made of all (and this type of job was no longer necessary), we still
the facilities. It was in this atmosphere, with so many turned out as much work, Another Parkinson law con¬
people around, that the Unit Manager was bom. firms this point1 The fact is that the number of officials
These men started each day with a meeting in which and the quantity of the work Eire not related to each
they presented the work schedule of their individual other at all.
units Etnd the projected needs in all related departments. All through the thirties and forties, Walt was bring
Then a little chan was made up saying that Wilfred ing in one group of efficiency experts after another in
Jackson’s unit could record from 10:00 to 11:00 Tues¬ an attempt to find th? way to run the studio most
day, have two extra layout men for five days on efficiently. He knew there was a belter way than (he
Wednesday, and gel top priority in camera for two current one, but he never seemed to realize that his
weeks starting a week from Friday. Jack King’s unit own How of ideas foredoomed each plan lo failure
would record from S1 ;00 to 2:00, give up his two before it had begun. An organizational plan presup¬
layout men on Wednesday, wait to shoot his tests for poses that all employees will stay in their own spots
two weeks—and so it went, until each department was doing just what they are supposed to do in the way that
accounted lor. As work loads shifted, or a sequence has been selected for them to do it. This was utterly
foreign lo Wall’s approach to anything and especially able—even though we were all very different.
in his constant shifting of his men, asking them to do For the animators who were more concerned with
things completely new day after day. drawing or technique or visual effects, this worked out
Walt never slopped kidding the staff about their wrell enough since they had little interest in story or
efficiency and how much work they were turning out. character delineation, figuring that was the job of some¬
Milt Kahl tells the story about Walt bringing a group one else. But for many of us, this stopped the further
of visitors into his room and saying, "All right—show development of character animation. With this piece¬
’em why it takes so long.” meal casting, there was no way to sustain a character
The end of the phenomenal growth of animation can or even to know the precise way he should perform.
be linked to the constant attempt to establish some We wrondered how Walt would interpret our scene.
kind of order for the production of the pictures. This How would he see it? Would he go for the pathos or
brought about a perplexing chain of command for the the humor here? But there was no way to find out even
animator, with Walt at the lop. Though his ideas were why the scene was in the picture The grand idea that
supposed to seep down to us through the Production was supposed to simplify procedures and make it eas¬
Supervisor, the Supervising Director, and finally the ier for each person to do his own job with a minimum
Sequence Director, they never quite did, and it was of distraction had developed into a restrictive separa¬
impossible for any of us to know what Wall really had tion of the talents. We were fast losing the stimulation
in mind without seeing and hearing his ideas firsthand, that had come from the team effort.
“I didn’t want Walt doing anything about the rest of In contrast, other phases of the business continued
the studio," Dave Hand, then Production Supervisor, to flourish and grow in importance. The emphasis was
said, “because he was so very valuable in the idea now on (he new elements: effects, mood, music, story,
department.’’ It was the thinking of the time that the style; and, even though Walt demanded as much from
sole job of the director was to deliver the idea of the his animators, animation wras no longer considered a
scene to the animator and that Walt was to be shielded frontier. As Bill Tytla said, we could make a com¬
from all possible distractions. monplace scene interesting; we had proved we were
When we questioned a piece of business in the professionals.
sequence, the director said it was the way they had Few were aware of the potential for better enter¬
handed it to him, and we were not supposed to worry tain ment that was being lost or the way in which these
about it. They knew how it all worked, and this is the decisions were ending the progress of the art of anima¬
way they wanted it. To this day, we still are not sure tion. Ken Peterson,1 who did see the danger, said,
who they were—all we know is that we were not among f'The tragedy was that animation was not really recog¬
them. Isolating us in this manner was a crippling deci¬ nized for what it was—the heart of the business," The
sion, most of all because very few people could inter¬ shift had come just as we were beginning to realize
pret Watt for anyone else. So the handouts were carried how much could he done with this means of expres¬
out on a kind of assembly line basis: one animator sion, this art form that was so fulfilling and rewarding.
would pick up three or four scenes that were ready, Excellent animation was still being done and some
and then when the next man ran out of work he would discoveries were still being made, but they tended to
pick up the next three scenes. We became interchange¬ be in the areas of refinement rather than in bold uses of
the medium. There was little inclination to experiment. The moving of these units to other quarters did noth¬
We thought of safe ways to do the scenes rather than ing to relieve the congestion in the main building where
exciting ones. all of us were squashed together worse than ever. And
This had not come about through any conscious having so many separate units working so far apart
effort to downgrade [he animator or to limit his influ¬ stretched the production procedures to [he snapping
ence. To Peterson, the explanation was simple: "Two point. The principle of squash and stretch that had
factors tended to bring about the isolation of the ani¬ huitt the studio was beginning to have a new meaning.
mator. One was the complexity of [he animation pro¬ But soon we would leave [he jumble of buildings on
duction which led to a business of specialists [in Hyperion Avenue, so full of memories, successes, fail¬
creating new visual images on the screen], and the ures, discoveries We were sentimentally attached to
other was [hat the studio was expanding so fast.” those structures that contained so much magic, the
By 1939 this expansion had forced some units to rooms that had seen so many ideas develop, the build¬
work miles away in buildings that could be leased in ings where so many of us took our first eager steps.
Hollywood, The whole Bamhi unit was m a complex Still, we were anxious to be rid of the annoyances and
that once had housed another cartoon studio; one group excited about all being back together again under one
worked in office space above the Ontra Cafeteria near roof. In 1939 the move began to [he glorious new
Hollywood and Vine, At a time when we needed the studio out in Burbank, There, the explosion that had
stimulation of our friends„ we were farther apart. begun on Hyperion would be contained.
A* the number of employees increased, Walt had less floors of magnificent building between them. Quickly
time for the personal contact that had been so impor¬ the song recorded their problems.
tant {o the guidance and stimulation of his creative
personnel. His time was concentrated on new ideas, OhT Miltie-pie, if! should die.
the next picture, needed innovations, and planning far Please bury me in 3C-!2.
the future. The art classroom had been convened to a Then ill know why, hut never cry.
Surfer, fancier projection room known ns Sweat box 4. About the pictures that they shelve.
and Watt spent many hours there, leaving rhe routine
nork on the pictures to his supervisors and directors I’ll gaze upon, what’s going on.
in both story and productions. And get it straight from Walt—
Instead if having rhe stimulating sessions with Walt And (hen I'll see who's blaming me.
in either story meetings or sweat boxes, the animators When it is not my fault!
were now getting e wry thing secondhand, if ar all.
Frank Thomas and Milt Kahl started to improvise a I ll get firsthand, the things they've planned
lament which began, "Oh, Aliltie-pie,” (the friendly That animators never know.
byname bestowed on Mitt years earlier because of his See color shots, hear story plots„
explosive personality), ' 7/ / should die, please bury Gee, 1 can hardly wait to go.
meinSweatbQX 4. Although I'm dead, fit hear what's
said, lying there beneath the floor. Yes, 1 tike Forest Lawn, hut when I'm gone.
Before the specific annoyances could be incorpo¬ You know where I'd rather be. , . .
rated into verse and melody, everyone moved to the 1 don't mean heaven, or AC-1 lT
new studio in Burbank. Here, the elite meetings were !l's 3C-12 for me.
mi held in the sweathoxes, but in one of two identical
projection rooms called AC-11 and 3C-I2!' with the The well-known phrase of resignation, “You cant
second being the more important because it hytj right win!' r was just coming into popularity. One effects
rtf.it to Wall's office. How there was more than a animator shook his head and added a second though I,
dosed door separating the animators from the knowl¬ "It’s not only that you can't win—you can't even get
edge of what Wall wctj expecting. There were two out of rhe game.” M
 4 .

y sjR|

: ftKjf

4:
8. Burbank and The Nine Old Men
"You hrou', the only way I've found to make these pictures is with animators—
you can't seem to do it with accountants am! bookkeepers.” Walt Disney

The isolation of the animator did not end with the

move to Burbank, but il was the turning point Except
for one linal picture , Steeping Beauty, where color
stylist Eyvind Earle had a last magnificent fling, there
were no special new breakthroughs by any of the
supporting functions. The war and economic factors
had forced a cutback, and the day of the specialist was
over, With a smaller staff, team effort was stressed to
tin even greater degree, and Walt began to rely more
Lind more on animation to carry the films, The first
evidence of the animators’ breaking out of their isola¬
tion was the creation of the Animation Board, which
had been established as early as 1940 to help with the
management of the animation department. Its mem¬
bers advised on hiring, firing, assignments, moves,
promotions, and training; but, bit by bit, they were
also determining what an animator should be and how
he should be used most effectively. The personnel of
this board changed according to the problems being
considered, but by 3950 the board had settled down to
a permanent group of nine supervising animators.
These key creators had an importance beyond their
duties on the board and influenced the way pictures
developed and the type of entertainment that was done.
Although the supervising animators were still in their
thirties, Walt joked about their responsibilities and
their wisdom and affectionately referred to them as his
“Nine Old Men,” after the nine justices of the Supreme
Court, The board consisted of Les Clark, WooSc
Reitherman, Eric Larson, Ward Kimball, Mill Kahl,
John Lounsbery. Marc Davis,2 and, the authors of this
book, Frank Thomas and 011 re Johnston. We never
thought of ourselves as some elite group, and the only
time it even crossed our minds was when Walt made a
kidding remark about his Nine Old Men being over the
hill, or getting too decrepit to work, or losing alt (he r
old zip.
In later years, after Walt died, the press picked up
this group’s colorful title and used it as a glamorous
way of linking these animators to him. The studio,
publicists kept it alive as symbolic of the old guard
that had survived from the early days of animation,
but their only requests of us were to pose for pictures^-
and that happened only twice in twenty years.-1
Under this leadership, a new and very significani
method of casting the animators evolved: an animator
was to animate all the characters in his scene, In the
first features, a different animator had handled each
character. Under that system, even with everyone coop¬
erating, the possibilities of getting maximum entertain*
ment out of a scene were remote a! best. The first man.
to animate on the scene usually had the lead character,
and the second animator often had to animate tosorot-
thing he could not fed or quite understand. Of neoes-
sity, the director was the arbitrator, but certain of tns
decisions and compromises were sure to make the job
more difficult for at least one of the animators.
The new casting overcame many problems and. more
important, produced a major advancement in cartoon
entertainment: the character relationship. With curt
man now animating every character in his scene, he
could feel all the vibrations and subtle nuances between
his characters. No longer restricted by what someone
else did, he was free to try out his own ideas of ho*
his characters felt about each other. Animators beearre
more observant of human behavior and built on rela¬
tionships they saw around them everyday.
The Supervising Animator was given the flexibility
of making changes and improvements after the scene
was on his board. Changes that come after the anima¬
tor has had a chance to live with his scene are often tbs
ones that make characters really come to life. With
(Corntimed on page
I artist Ward Kimball.
Ward Kimball seldom let
his pencil rest: imaginative
doodles done during an
Animation Board meeting,
circa 1957.

i mw 11 a
U ml Wv
bill/nl/j*m I \

The second, and final, photo of the Nine Old Men. Front row, Woolie Key personnel occasionally had la become actors in studio f.
Rritkerman, Les Clark. Ward Kimball, and John Lounsbery. Rear, Milt Kahl, Marc Davis, Frank Thomas, Walt, and Wilfred Jackson s.
KahL Mure Davis. Frank Thomas, Eric Larson, and 01 He Johnston, Johnston's drawing dunng the making of a TV' y/itm1 promoting
Beauty.
animator frank Thomas—■
R iimbi.
Three years earlier this
scene might well have been
divided between fn-'o differ¬
ent animators. Under that
old casting method, it is
this type of action
could have been brought off
at all.

y
 strong character delineation, and (he design of the char¬
acters inspired the animators to get a very loose han¬
dling in their work. But more important, BilFs business
called for much personal contact between the bear, the
fox, and the rabbit. Also, his relationships demanded
split-second reactions between characters that would
have been impossible to handle in co-animation.
This new way of working with character relation¬
ships encompassed the whole range of relations between
two or more characters—from the broadest to the most
delicate. It involved expression scenes that often regis¬
tered the most secret thoughts and inner emotions of
the characters, which as (hey became more subtle were
much of the sequence under his control, the Supervising also more revealing. With money in shorter supply,
Animator can plan a more effective way of using the we cut out the frills and put our energies to work in a
animation to put over the story points, by changing new direction, doing the most with what we had, mak¬
fool ages, shifting scenes, calling for long shots, dose ing up for what had been lost in one area by concen¬
ups. expressions, actions—anything that makes a trating on outstanding characters in entertaining situa¬
stronger statement and richer characterization. tions, It was a new dimension in animation and the
One of the first examples of this was the sequence key breakthrough in reaching the audience.
of Bambi and Thumper on ice. The concept of an Just as the concept of “life in a single drawing" hud
animator taking an idea like this and developing it into not been recognized as a dominant factor in animation
a sequence really sprang from the “milking'L of a that seemed to live, character relationship was nut
situation in the earlier shorts to gel everything out of understood as a major contribution for many yean;.
ii. Norm Ferguson’s Pluto and the flypaper and Pluto The Grasshopper and the Ants had brief moments of
on ice were two of the earliest and most outstanding exciting relationships, and this could explain why it
pieces of entertainment built by an animator. Fred was so successful. The seven dwarfs had strong re la
Spencer was successful w ith this type of improvisation tionships. hut these existed more because of story than
on Donald in Moving Day, But the Bambi and I hamper animation. The animators at that point could not havo
sequence had something that the Pluto and Donald developed this by them selves.
sections did not have [ hat was a character relation¬ The Nine Old Men eventually were able to do it
ship with strong beginnings in the story department, because they incorporated all of their own experiences
where it was worked out by a man who had a leeling (along with what they had learned from the top anima¬
for animation.4 With this as a springboard, the anima¬ tors) into this new way of working—not just good
tor continued developing this relationship, which only animation, not just good drawings that moved in a
could have been done by tine person handling both
characters and completely controlling every single bit
of action, timing, and cutting. Just how much we were
really aware of ihe value of this type of casting then is
hard to say.
Several years later, for whatever reasons, the mold
was further broken on the three Unde Remus sections
of Song of the South, where all the supervising ani¬
mators handled footage in large blocks. Bill Reefs
great story work seemed to lend itself to this type of
easting He had developed entertaining situations with

animator Milt Kohl—The Jungle Book

pleasing way, not just drawings that were funny, but
drawings that moved the audience. As animation his¬
torian JohnCulhane said, “Moving drawings became
. . . Moving drawings’"5
Culhane says the Nine Old Men continued to attack
the problems and meet the mounting challenges in
animation—that Ichahod, with fear on his face, took the
art a step up/' (hat “Lounsbery's wolf in The Sword
in the Stone, with its broad, comic, but terribly real
frustration, and Milt’s Shere Khan, a devastating cari¬
cature of the late George Sanders as a super stuffed-
shin tiger, were examples of acting by cartoon animals
in the 60’s that are considerably advanced from the
cartoon animals in animation’s so-called Golden Age
m the 30’$ and 40's,”7
Obviously, animation was communicating writh the
audience better than it had before. More than acting,
more than story, more than character by itself, some¬
thing hud happened that was allowing the animators to
express themselves more fully, and the viewers noticed.
As Walt's interest turned to other things, the creative

amsta ron Frank Thomas-—

Adventures of Ichahod and
Mr. Toad
 nil* MM* C*
rrt B

Q# TiiM ?

strength of the pictures shifted in favor of the anima¬

tors. He had seen what they could do with material he
might not have okayed in earlier years—they made it
entertaining just through their skillful handling. Be-
cause of these skills, personality animation began to
dominate I he story material However, we still needed
strong stories, and these could not have been created
without men such as Ken Anderson, Bill Feet, Frdman
Ptnner and Don DaGradi who gave such a balance of artist. Ward Kimball.
talent and input of ideas with their different perspec¬
Word takes a friendly jibe
tives. Pictures were planned more with purely enter¬ at his aging fellow anima¬
tainment sequences—rich in personality and character tors, Frank and OHie.
—and these, in turn, helped the animator continually
to develop his acting skills to higher levels, writh Ub Iwerks back in 1927, and he studied contin¬
John Culhane said that character relationships had uously from then on. Eric Larson. Ward Kimball, and
gotten better and better. 11 In Robin Hood, there were Milt Kahl had all learned under Ham Luskc; Frank
so many vibrations passing back and forth between Thomas and Otlie Johnston had been with Fred Moore,
Prince John, the vain and mangy lion, and his gap- but they were strongly influenced by Ham and Bill
toothed snake sycophant. Sir Hiss, that it amounted to Tytla. Johnny Lounsbery trained under Norm Ferguson,
animated Sensaround And Culhane added this in a Marc Davis under Grim Natwick, but both of them
personal letter to (he animator of these scenes: studied the work of all of the top men. Woolie Reither-
man was probably influenced more by Fergy than any¬
[ really did feel hypnotized in my theatre seat. In one else.
fact 1 felt the way that that long-ago radio producer While no two of us were alike, we still had many
mast have felt who auditioned Edgar Bergen and traits in common. Foremost among these was the desire
Charlie McCarthy, and was disgusted with Bergen to put the finest possible entertainment on the screen.
for stumbling over his lines until McCarthy snapped: There were many arguments and disagreements among
Here, let me have a look at that' . , . and the pro¬ all of us on every conceivable issue. Still, no matter
ducer thrust the script into the dummy's inanimate how exasperated wre wrere with someone, it never
hands. entered our minds to question his motives. We knew
that he wanted the picture to be just as good as we did.
All of the Nine Old Men either had learned their art For over twenty-five years this remarkable team
directly from the top animators of the thirties or been wrorked together, dedicated to Walt and the medium
strongly influenced by their w^ork, [j;s Clark had started and its constant improvement. Then Marc Davis was
moved over to WED, our sister organization, to put
his special abilities to work on the rides and shows for
Disneyland, Woolie Keitherman began directing in
1961, Eric Larson eventually took over the all impor¬
tant training program (to insure that new talent would
reach its potential quickly), and in the mid-seventies
both Ward Kimball and Les Clark retired.
In 1975, author John Canemaker paid tribute to the re¬
maining four animators of the original nine, “Thomas,
Kabl, Johnston and Lounsbery are a tiny but dazzling
repertory company of "actors with a pencil!"9 With
each new film, they change roles, but still retain their
individual specialties, their star qualities, if you will/* beginning just as the one that had spanned nearly
Johnny Lounsbery died suddenly in 1976; Milt re¬ forty-five years of animation came to an end. Here is
tired in 1977; and, in January of 1978, we, Frank and a closer look at these men in the order of their arrival
Ollie, left the studio to write this book. A new era was at the Disney Studios.

Les Clark
When Walt hired Les Clark in 1927, he said, '"Well, thoughtful man, who came in with no art background
you knowr this is only a temporary job, Les, 1 don't yet through sheer determination and desire not only
know what's going to happen/’ But as Les said, "So kept up but helped advance the art with his refine
it lasted forty-eight years!" ments of many fundamentals.
Les just kept going—and kept up! As Walt asked Walt was pleased with Les’s Mickey in Fantasia's
for the better drawing and greater refinements that left "Sorcerer's Apprentice" and especially liked his deli¬
so many others behind, Les was able to adapt and cate handling of the Sugar Plum Fairies in the ' Nut¬
continue in the front ranks of the animators, year after cracker Suite." However, the latter were not person¬
year. His drawings had appeal, were always gentle alities but more like birds, Les said he had thought of
and warm and likeable, and his timing was always hummingbirds. and this gave them a charm in timing
sensitive. He quietly went ahead perfecting what he as well as movement.
did best, constantly at art class working hard to improve Les was a Sequence Director on Sleeping Beauty.
and to (earn. There was much admiration for this quiet. From there Walt moved him into direction on TV
specials and educational films. Just as he did in his
animation, "Les never settled for anything that wasn't
top quality—his work always had that fine finish."10
One of his pictures. The Kestiess Sea, was a winner of
many awards. He continued directing up until his
retirement in 1976. He died on September 11, 1979.

Les Clark had a special

feeling for the feminine
quality in Minnie Mnu.se,
Woolie Reitherman

Woolie is the most physical of the group—with a com¬

pulsion (o stay young and to squeeze in everything
before ii is too late.
Ken Peterson, who was Woolie’s assistant on the
dinosaurs in Fantasia, says, “You know how Woolie
is. . . . Ik’s gonna lick this if it’s the last thing he ever
does. The way Woolie is, he'll fight for entertain¬
ment—the drawing problems he had on his stuff—but
lie finally got it. Some of those papers, you know,
when you'd go to clean them up, there was practically
milling left of them. They were all crumpled like old
dollar bills—wrinkled and brown with different col¬
ored pencils. Nothing was ever finished' as long as he
could flip il, there were going to be changes made.”
Woolie says, “My work had vitality and an l don’t
give a damn—try it!" quality, “ 11
The Goofy that Woolie animated communicated with
the audience in a way that only Woolie could have
done it—this was a new type of animation. His tim¬
ing. staging, texture, pacing, desire to do something
different, good gag sense, knowledge of whether it
wus entertaining (and the ability to think of something
else if it was not), all carried over into his directing.
Every story point, every scene, every line of dia¬ and would still be going strong at five o'clock while
logue had to be thrashed over a hundred times in the the rest of us sat in exhausted admiration. He was the
search for the essence of the material. Woolie would only director ever to handle a feature alone and per¬
stubbornly argue his point; then, often to encourage a haps was the only one with the strength and stamina to
new way of looking at something or to probe deeper, keep track of all the people and what they were doing
he would switch to a new position hoping to bring out and be able to pull all the pieces together in the last
some fresh arguments. Always the search was for enter¬ hectic months.
tainment and audience communication. His energy was boundless. As one animator said,
Like Wall, he never seemed to run out of energy “He doesn't even gel jet lag-’

Eric Larson
Eric’s Figaro is one of the finest examples of pure mated most of the likable old owl.
pantomime ever done at the studio. The acting, texture Because of his ability to handle every type of thing
in timing, and inner feeling for the character were that could fly, Eric became known as a bird-man, He
remarkable things to achieve without benefit of dia¬ did everything from sincere birds who helped Cinderella
logue. His flying horses in Fantasia were graceful in make her bed to the craziest of them all, the Aracuan
movement and convincing in action. He supervised the bird. In the Aracuan. Eric displayed a remarkable feel¬
animation on the very' difficult stag in Bambi and ani- ing for an imaginative character not based on an anthro-
pomorphic concept. And one might add that there was
never anything in Eric's very dignified outwrard behav¬
ior to indicate that this strange incongruity could lake
place.
His quiet, mature judgment was respected even when
he was young. Whenever a special committee was
being selected, it was always Eric and somebody else.
And when a serious conflict or disagreement arose in
any large meeting, it was Eric who seemed to be able
to soothe everyone with his " pour-oil-on-troubled -
water speech," as Ward Kimball called it.
It was sometimes difficult to see how Eric ever got
any work done. He had the largest crews of any of the
top men, and there was always someone in his room
with a problem, often nothing to do with production,
Eric was always patiently listening, occasionally coun¬
seling, but somehow, in spite of all Eh is, he was one of
the best footage men in the studio. When and how he
did it no one ever figured out. And to top it all, he was
able to get footage out of most of his crew. At this
writing, Eric is still in charge of the training program
for the new talent coming into animation. Age has not
diminished his empathy with young people.
Eric Larson

Ward Kimball
Not all nine of the supervising animators were inter¬
ested in personality animation and character relation¬
ships. To Ward Kimball fell the mantle of true icono¬
clast of the group. He had tried and done successful
personality animation on Jiminy Cricket, but soon
found this style too limiting for his particular talents.
He felt the proper use of animation for him lay further
away from live action.
His conception and execution of the long song
sequence in The Three Caballeros is a classic in the
unrestricted use of the medium. The song was tour
minutes long with little or no business, and, after
listening to it for a week. Ward says, "I decided to be
optically literal. What you hear is what you see When
they say they have serapes—the scrapes appear. And
when the characters went out on the right—they’d
come in on the left; they'd go out on the left, and
they'd come in from the top. It was optically abstract.'
Ward Kimball
 *
LOOK
T0W £hq£K

Ward's approach to this was a new type of entertain¬ little-noticed traits in almost everyone around him*
ment really too unique to pass on. and from then on that person would have a label on
He was an excellent draftsman, with the rare ability him. He was an excellent mime and could either act
to make funny drawings equally as well as serious out these traits or incorporate them into one of his
uncs. He had a better design sense than most and sharp caricatures.
thought of imaginative ways of doing things. He never Typical of Ward, he was also creative in his approach
did what was expected, and to the consternation of at to teaching life drawing. He used the innovative idea
least one director never did the assignment the way it of the “model in movement*’ to make his class more
was handed out. His staging was lops, his timing aware of the principles of animation, which encour¬
unique, and he could show' what was funny about a aged (he young students to think in terms of rhythm
situation. He had a knack for picking out the special* and action in their drawings.

Milt Kahl
Milt’s great strength lay in his drawing ability and his the support of reference material. Though Mitt actu¬
conviction [hat animation drawings were really two- ally preferred broad characters, he took great pride in
dimensional and should work in that plane—clear, doing assignments that were tough to draw. His unique
xiriiplc. easy to read and understand. As one of four sense of character design dominated the features for
imtmalcrs to work on the character of Pinocchio, he over thirty years, but it was so personal that it was
was given the assignment of animating Pinocchio as a often difficult for others to follow. He would deny
real boy because of his careful drawing. this* saying, “Anyone who can draw, can follow it.”
Mill's control enabled him to do the most subtle What he really meant was, “Anyone who can draw
moves, leading to repeated casting on human charac¬ like me can do this. . . .” He had remarkable powers
ters. His Sir Ector and Kay in 77ic Sword in the Stone to visualize, and as someone said, “Once he gels clear
were the best human figures ever done at the studio* in his mind what he's going to do, it’s as good as on
and they were done without benefit of live action or the paper.”
‘Vj
 He was honest to the point of bluntness. Unlike
many irascible temperaments who have filled the halls
of history. Milt had a very sweet helpful side, when he
chose, He gave nnstintingly of his time and talent
when it was to help the picture and almost as often to
help a fellow artist who had a problem. However, he
expected anyone coming for help to have worked hard
and tried everything—to have done his best before
coming.
Milt's farewell animation was his brilliantly done
Medusa in The Rescuers. This time Milt had a charac¬
ter all to himself, and his rewards were great, as shown
hy this tribute: “The younger generation studies the
wreiK in which Mme„ Medusa lakes off her makeup
while plotting child abuse. The way that Milt Kahl
accents Geraldine Page's fruity, cruel voice by mak¬
ing her lug extra hard at her false eyelash until her
eyelid snaps back like a rubber band is like a drawing
from Daumier's 'Sketches of Expression" series . . .
but in movement!”12

Frank Thomas

Writing in Millimeter magazine, John Canemaker paid

Ihis tribute to Frank: ‘’He has been ‘sincerely' affect¬
ing audiences for forty years; he has made them laugh
and cry. hale and fear, using basically a pencil he has
charged with intelligence and humanity, tons of paper,
and the 'persistence of vision'. ”1
No job was too painstaking, no research too time-
consuming to lay the groundwork for a Thomas se¬
quence. Each possibility had to be explored endlessly
to find every last ounce of entertainment. His powers
of observation and his acute memory for things he had
seer and studied over the years gave him a vast reser¬
voir of experience as he prepared his scenes for anima¬
tion.
His analysis went past Ham Luske's rules. Through
these powers he was able to portray complicated ac¬
tions, attitudes, and acting. His great feel for charac¬
ter, acting, and entertainment can be seen in the many
memorable sequences he “acted1' in The most famous
hut not necessarily the most difficult scene, the dwarfs
crying around Snow While's bier, is said to have
extended the emotional range of our cartoons. Frank’s knowledge of what the character should do
To have worked under Frank was to have been and Milt’s ability to draw it.
subjected to the most rigorous training imaginable. As Like the rest of the fellows, Frank gave time to help
one young animator said, "It is impossible to please others. His advice was sought on music, layout, back¬
that guy. He's never satisfied." The solution was not ground, and story as well as the animation. On the last
to try to master Frank's extremely complex acting pat¬ few features, Frank would spend anywhere from sir
terns, but to study his approach to entertainment and months to a year helping develop the story structure
his use of the fundamentals of animation. Frank's stag¬ and situations, sharpening up and defining the charac¬
ing and his use of squash and stretch and the strong ters and their dialogue—and then he would animate on
changes in body shape that gave so much life to his those same sequences with a fresh eye.
work were tangible things that have helped many young Frank is a modest man, "frank” in his honesty,
animators. penetrating in his criticism, hut always tempering n
Walt cast him with Milt Kahl repeatedly because of with humor.

Ollie Johnston
Like most of the group, Ollie was at his best when and would work tirelessly to correct it. He had a vision
leading off on a character, particularly if the story and of what it ought to be and was dedicated to seeing il
the characters were at a stage where they were still come out that way. Through early experimental uni
flexible. He was often the first to perceive that a char¬ ination, he was able to show the potential for enter¬
acter or a story point was not developing the right way tainment in the characters that would then be developed
in future story situations. In doing this type of devel¬
opment he combined the appeal he had learned from
Fred Moore with the sensitivity he had for the emo¬
tions of howr the characters felt.
Colleagues agreed that Ollie carried acting and Ik
feeling of the characters to the highest point. He hada
sensitivity for good picture, imaginative layout, what
the character should be doing, and how to arrange ihe
scenes for the best effect. His knowledge of what was
needed in a voice made him valuable in dealing willi
difficult decisions of whether the vocal talent was giv¬
ing the animator the performance he must have to
make the character think and act.
In an interview Ollie said, "I talk a lot about any
scene I'm gonna animate and get the best ideas I can;
and when I’m convinced I have the best way, then I
put everything 1 have into executing it. But just becaus*
I have a good plan doesn't make il easy. Animation is
inherently open to mistakes, and I could know exactly
wrhat I want to do and still have trouble. And I’d say to
myself, 'Whatever made me think this scene would k
easy'?' or, 'I thought I promised myself last week I'd
never make that same damn mistake again,'"
 In spite of the usual problems, his footage output His drawings of Mr. Smee from Peter Pan turned
was always the highest on the picture, and the fact that out to be a near self-portrait. Of course, this is not
he never looked upon animation as being easy helped uncommon when the animator is really feeling the
him to emphafhize with the young animators and assis¬ expressions. A young art student visiting during the
tants working with him. He knew that their problems production of The Rescuers glanced at the cat on 01 lie's
required guidance and patience, and this he willingly board—then at Ollie—and said, “You look just like
provided. Rufus, Why you even wear glasses just like he does!”

The Jungle Book

Johnny Lounsbery
As is often the ease, the pupil surpassed the master.
Norm Ferguson had instructed well but Johnny had
gone beyond what the legendary master had been able
to do. His better drawing and bigger concept, not lim¬
ited by old vaudeville acts, brought the bold* crude
approach to new heights, using more refinement, more
dramatic angles, more interest, and all without losing
the main idea. His simple staging, appealing charac¬
ters, good taste, strong squash and stretch, and con¬
trolled anticipations and follow through made a big
bold statement, but they never lost bdievability. Hardly
subtle, his characters were always fun to watch.
He was good at working with the young animators
and did pose drawings that were an inspiring spring¬
board to get anyone started. As a draftsman he was
ideal for animation. His drawings were simple and
loose and full of energy. They had volume and that
elusive quality of life. He had some of Ham’s ability
always to find the way to go further in strengthening
his poses.
Johnny's favorite of the characters he animated was John Lounsbery
Ben ASiT the alligator in ‘‘Dance of the Hours** from some of its subtleties without losing the strength of
Fantasia, where he captured a cocky, spirited walk broad cartoon action.
and attitude—one that was particularly unusual since Johnny tended to he an introvert, but asserted him¬
it all had to fit the tempo and the accents of the self on key decisions. He had his own special way of
prescored track. This wrork was a great influence on looking at things, and no matter how bad they were lie
the other animators doing this section, many of them always had some funny observation to lighten the situ¬
animating for the first time. He had an especially good ation. At the time of his death, Johnny was directing
way of working to live action, being able to adopt sequences on The Rescuers.

Marc Davis
Marc Davis is an example of a talent being shifted to he was given his first chance at animation on the char¬
wrhere it is most needed. This happened to many of the acters of Flower and his girl friend. After Bambi, the
men since no one had been trained for the jobs that very versatile Marc returned to the story depart maul,
were being developed at Disney's. Several men actu¬ where he designed the Eagle and Octopus section of
ally created their jobs by doing something particularly Victory Through Air Power for Bill Tytla to animate,
well—and that is how wre got the great results. Due to some careless oversight, he never received
From careful cleanup on the delicate drawings of story credit on either Bambi or Victory Through 4ir
Snow WhiteT Marc moved to story sketch and charac¬ Power.
ter design on Batnhi because of his ability to draw In an interview, Marc expressed this philosophy:
animals. After doing outstanding work in these areas s<To be an animator, you have to have a sense of die
dramatic, a feeling for acting; you have lo be a story-
teller.1'1'1 In his own work Marc also added these
qua lilies: more appealing attitudes, better drawing, and
the convincing movement that came with this drawing
ability. He saw a unified relationship of all parts of a
character and on. the flamboyant Cruella deVil made
use of everything from her bony elbows to her posturing
through her erratic movements.
On Marc's Maleficent, he showed a flair for the
dramatic based more on powerf ul shapes in his design
and strong use of color than on broad action, He had a
feeling for the importance of a good layout and never
overlooked the value of props such as the raven and
the staff and made sure they were part of the overall
picture.
Marc is a very gentle person, but with strong con¬
victions that he holds to tenaciously1' He has a special
sense of humor Chat usually has some unexpected twist
to it. He is a very successful teacher, specializing in
drawing for animation. His main courses were given
in night school at Chouinard’s, and many of his stu¬
dents later followed him lo Disney's.

Sleeping Beauty
 Refining Techniques
Under the leadership of the Nine Old Men, the animator.■ Frank Thomas—
original animation principles were refined, per¬ Bambi.
fectedt and extended. By i960, the characters' Overlapping action became
actions had become so sophisticated it nw ai- more than just a way So
most impossible to isolate the elements making avoid stiff action when
them work. Squash and stretch, follow through, Thumper tried to teach the
secondary actions, atl were so subtle and inter¬ young Bambi tt? say
"Bird!"
related that only the entertainment in the scene
was obvious.

ANIMATOR:Milt Kahl—
Pinucchio.
Pinocchio is near panic as
he begins to turn into a
donkey. A lesser animator
might have made the reac¬
tions so violent and active
that the drama of the scene
actually would have been
lost. Do not con fuse action
with acting.

animator Ehc Larson—

Bam hi.

in this quiet scene, the old

owl advises some young
birds visiting the new baby
deer that if is time to go.
The situation required a
restrained move, but one
with clear definition. Do
not confuse subtlety with
vagueness.

17S
 Ollie Johnston—
anfmatoft
Adventures t>f Mr. Toad.

Some uni mu loti ho ve

claimed, 1 'Each drawing
isn't important, it’s the
movement." However, for
dear staging and clarity of
action, every drawing in
the scene must jAoh' the
attitude and the acting.
This scene had good texture
in the timing, coni rusting
the measured, precise steps
at the start with the unex¬
pected whirl and accusing
point at the end.
 animator Frank Thomas—
Sword in Ihc Stone.

The mad Madam Mini uyjjt p>

a contrast of wild actions
and restraint, with unex¬
pected outbursts accenting
her overall timing. Wait
had cautioned his anima¬
tors„ “Don't he broad
when there is no reason/'
but this was the perfect
place for startling activity.

ANIMATOR: MiltKahi—Robin
Hood.
It was important that the [>
audience see the Sheriff of
Nottingham put this coin in
his purse at the same time
he delivered a tine of dia¬
logue. Flipping the coin in
the air attracts the eye to
the action and shaking the
purse with the coin inside
enriches the Sheriff s per¬
sonality. A fine bit of stag¬
ing and an example of
keeping the action clear.

A
animator- Frank Thomas—
The Laughing Gaueho,

This little gaucho had a

laugh that shattered glass
until his voice changed. His
desperate attempt to pro¬
duce his former laugh de¬
manded repeated changes
in all the shapes in his face
and body.
 artist. Glen Keane.

Forty years later the prin¬

ciples of communicating
through drawings is car¬
ried on by new animators.
These story sketches for
The Fox and the Hound
have strength and dramatic
impact in the design. Plac¬
ing the bear high on the
screen makes him took big
and powerful.

iNMATOfi Glen Keane—

Yht Fox and ihe Hound r

jlen carried this feeling

7ver into his animation,
retaining the great scale
ivhile adding the excitement
that comes from movement.

182
ARTfsr: Milt KahL

We had been taught always

to look far things live-
action people wish they
could do, but too often the
story metterial demanded
careful drawing and sub¬
dued action, Then story -
man Bid Peel gave us the
wizard's duel in Sword in
[he Stone, a perfect
of animation, maintaining
personalities through a
surprising change informs
and exciting action,
9. Our Procedures

TAt- ideal set-up would be the storyman, the director, and the layout man, as well as the musician, operating
m a son of story unit. They all should he keenly interested in the picture. No one person should dominate to
an extent where he would keep the others from entering into the production and freely expressing themselves
Wall Disney

hi spile of constant efforts and persistent claims, Walt had characterized the ideal hero with glowing, flaxen
never did build an organization in the strictest sense of locks as “The Fair-Haired Boy," and at Disney's that
that word. What he built was a loosely unified group of role was apt to be so transient that the “fair hair" was
talented people with particular abilities who could work assumed to be an easily transferred wig. The employee
together in continually changing patterns. They did wanting an update on developments in his projects
this with a minimum of command and a maximum of would ask, as he arrived for work in the morning,
dedication. What Walt wanted was the greatest creative “Who's got the wig today?"
effort—not the most efficient operation, There were This method worked because Walt was the boss—not
titles and departments and job classifications without just because it was his studio or that he had the author¬
end, but they had more to do with responsibility than ity to gel what he wanted, but because his ideas were
authority. the best. Many times we could not understand what it
It was (he person with the better idea who was on was he wanted, but never did we lose confidence in
top, regardless of his job. Still, this recognition often him or his ability. We could question his judgment, or mqvc page
survived only a day, as some other idea was embraced his emphasis, or the way he went about achieving a
in (he process of endless growth. The slang of the day result, but it was with the knowledge that Walt’s way The Rescis
always was a very good way. Usually each of us fell, souls” became valuable contributors towards our
“Why didn’t I think of that?'5 but every so often we production progress. And most others would find a
secretly would fed, “My way is better!” and occa¬ niche that satisfied the studio and them.
sionally it would suddenly seem so to Walt, too. He
relied heavily on his staff to feed in creative ideas. Possibly the most elusive part of this casting, and
In understanding Walt's methods, it is important to the part that Dave considers to be of the “utmost
realize [hat he was not in the animation business to importance," was the building of the material from
make money. As he said. “Money—or rather the lack the first days in story toward the men who wrere going
of it to carry out my ideas—may worry me, but it does to handle it. The story erewr was selected for the inter
not excite me. Ideas excite me.” He was more like a est (hey might have in a type of story situation, and,
man with a hobby than one with a commercial enter¬ very soon afterward, as the entertainment values were
prise, He was doing what he wanted to do and hoped emerging, the director would be selected. The storymen
that others would share his curiosity and excitement knew this director’s talents and automatically started
about the potential in what they were doing. He put all shaping their business along his lines. At the same
the money gained back into the next picture because time, the men who eventually would animate this film
(ha! was where the fun was, and he certainly never were chosen, and everyone worked to provide the type
reached a point where he did not know what to try of material they did best. “Even in the story develop’
nexl, oient period, the business being considered (perhaps
He did not dream a big, overall dream; he made it unconsciously) is thought of relative to a certain ani¬
up as he went along. Each thing he did suggested mator being able to handle it," Dave said. “I believe
something else, something new, something that had it to be a most important part of having the picture
never been tried, something an audience might want to come out with quality at the other end."
see. lie realized (hat he could not explore these areas This is obviously the opposite of approving a script,
without better talent around him, so he was always preparing the scenes, and then calling in any available
adding to the staff, “Never mind the classification, animators to complete the work. It also pinpoints the
just get that guy in here." Talent, ability, new ideas subtle working relationships that made an established
were the important matters. organization impossible, Any attempt at describing bow
His amazing faculty for casting his men on assign¬ the pictures w ere made has to be done in terms of the
ments that would bring out unexpected talents extended men who made them and how they felt about their
down to the least employee. When Dave Hand was assignments. There were constant experiments in inno¬
production supervisor he saw this happen over anti vative procedures (some successful, some quickly
over: discarded), but through it all there was a perpetual
shifting of job responsibilities and opportunities. Mak¬
I think Walt had an uncanny way of finding just the ing a film became a sequence of associations, with the
right place for a “lost soul.11 Admittedly, because whole process kept extremely flexible until a good
money had no relationship to his finding the right product actually had been assured.
job for the right man, he would direct the movement Of all the methods tried, we list here the most suc¬
of the creative talent. . . from one place to another, cessful, and. in most cases, the ones that produced nur
In my position. I was ready to give up on some little greatest films. No two pictures were done exactly alike
gay and would so express myself to Walt. Many since Walt always searched for a still better way, but
times he would say to me, “No, Dave, let's move the procedures presented here show the way the best
him over to this spot in this department. Maybe work was done at each stage. Perhaps it was an unusual
he'll work out there," And e%ren at times, if the way to make films, but it brought inspiration in the
“lost soul" didn’t make it in that department, Walt conception, control in the production, and success at
wouldn’t give up on him; we would have to try yet the box office. It Look years to find these concepts,
another spot. To my amazement, some of these "lost and few of them are quite what anyone would expect.
The basis of the Disney method of making a film
responsibility since we worked so democratically, he
always has been (earn effort, where eon slant discos- snorted, “Democracy! That’s not democracy—that's
sion and daily arguments replace rigid procedures, Walt MOB-ocracy! It is true that many artists cannot adapt
realized that each person connected with the film had their talents to the group effort. Highly specialized
to fed that what he did was the clement that made it all ideas are nearly always he a ten to the ground, with
work. This meant keeping everyone involved in the preference given to more solid entertainment, since
searching and the trying and the evaluating that went the base must he as broad as our audience. Personal
on through the whole production. Walt summed it up preferences succumb to the majority rule, or the direc¬
very simply, “Everyone has to contribute, or they tor* or the producer, but in the exchange of ideas there
become laborers.+ >
is a stimulation that no individual could generate in
Frank Lloyd Wright once was trying to pinpoint the himself- Our procedures tried to make the best use of
blame for something he did not care for in one of our this collaboration by adding constant opportunities fur
films. When we explained that we all shared in the it to flourish.
 artist GusiafTenggren Pinocchio.

ARTIST: Kay Nielsen—

“Night on Bald
Mounitiin.'' Fati t as ia.

artist John Henck— Cinderellar ARTIST; Mary l

' ‘Johnny App\
Melody Time

MUST; Eyvinti Earle— Sleeping 1 leanty ■

Mary Blair and Ken ,jtn-

derson discuss drawings
190
they have done in relation
io (he needs of the film.
 artist Ken Anderson—
The Rescuers.

Each star)' seemed to call for something new in the

w-.iyoi style and design to mutch the mood of (he mate¬
rial; so, before any actual story work was begun, Walt
wtju]ij look lor an artist ot unique ability to make some
drawings or paintings that would excite everybody.
From outside the studio he brought in top illustrators
of children’s books, such as Kay Nielsen and Gustaf
Tenpgren, to explore the visual possibilities of a sub¬
ject. Within our own staff were highly talented stylists
like Albert Hurler Mary Blair, Don DaGradi, and
Ken Anderson, who knew the production problems akt/st. Vance Gerry—
and could suggest specific layouts or character sketches The Sword in the Stone,
a, well—10 help get (heir ideas into the working de¬
ments of (he picture. But more often, these stylists
we not supposed to concern themselves with the
details nt making the picture. They were trying to
create a way ot visualizing the whole concept so that it
would be attractive and fresh and establish an integrity
of design for both characters and locales.
These ’inspirational sketches” started the whole
'tiiN thinking. As one animator said, ‘ There is some¬
thing exciting about animating on a sequence that has The stylists influenced the whole Appearance
Hire, yet their work was never seen by thepubl
■i 1 imaginative locale—-a make-believe place that would part of a large group of artists who inspired, cm
he exciting to be in Like the Snow White setting—a and suggested hut did not make the actual t
fanciful world. The settings in Pinocchio-—Geppetto's paintings for the films. The design, color, m
characters, and fantasy worlds all stoned in the
^yPru^ those dolls—the inside of the whale, or
sketches of this select group.
Vpng— Pleasure Island—the locales inspire ideas lor layouts animation that Wall had decreed (hey often lost the
and exciting scenes that you can l feel in the ordinary spirit of her design. It was no problem lo move the
several dif situations, Jt stimulates your imagination so that you drawings artistically, keeping exactly her suggestions
j were as-
think of more unusual ideas.'*1 No one had a chance to —and some very interesting innovations came from
;ame picture
lo find the get bored or stale or feel he was just doing the same those efforts—but as soon as it was necessary to tdl a
style for a thing over and over. Everyone got a lift from having story with warmth and personality it all broke down.
For Bambi. fresh talent continually suggest new concepts. We had proved in Fantasia that any sha|>e could move
tied to cap-
There were times when the dramatic or charming in almost any manner to match the verve and excite¬
n of the deer
id the poetry styles suggested could not be maintained in the actual ment of a strong musical track—as in the stirring dunces
*en's book, animation—to everyone's disappointment. Possibly we in “Nutcracker Suite"' or the abstract designs of “Toc¬
yughl a mag- were just not good enough to convert the strong designs cata and Fugue4 —but this movement could only illus¬
'! tradition to
to our type of animation, but we felt that as long as we trate a story concept: it could not sustain it. There is
were achieving our audience identification through sin¬ possibly a w‘ay to do both. We just never found it.
cere. believable characters in real settings (no matter Ken Anderson felt the problem went deeper. “Mary's
how' fanciful), we had to keep certain fundamentals of style . . , doesn’t adapt that well. . , . Wrhcn you made
animation. We experimented with other types of move¬ any adjustment at all, they were not Mary Blair’s. ,,.
ment that might fit (he suggestions of (he stylist, but But if you had movement and color against that back¬
they always seemed to lack life. No matter what we ground, it's a good question as to whether it would
tried, we were never able lo adapt our techniques to have been as wonderful a thing to look at," It may be
the restrictions of an incompatible design. that certain designs simply should be left in their sialic
We all loved the crisp, fresh drawings of Mary Blair; form, suggesting their own dynamics through the if
and, since she always worked in flat colors with inter¬ relationships. Animation has its own language, and it
esting shapes, it seemed that her work could he ani¬ is preferable to develop its own elements rather than
mated with wonderful results. Although we kept the try lo force it to duplicate or augment another art form,
colors, the relative shapes, and the proportions, once After alt, animation is as much a separate medium as
Mary s drawings began to move by the principles of ceramics, carvings, tapestries, frescoes, or prints.
 artist. Art Ritey— Bambi.

urfjr Maurice Noble—Baanbi.

Scene from the picture shows influence of the stylists.
How The Storyman Works
In The Fox and the Hound, the fax was raised on the farm but now has been turned hose in the woods. Seeing a beautiful vixen. He wants to get acqumn
At this point, he is more like a teenager than a rest fox. The vixen is fishing by a stream, and he rushes over to help, without knowing anything at
catching a fish.

lerry explores the possibilities of the situation, trying many set-ups, Vance tries to find a continuity without dialogue that is enter tuinin
t ways of staging possible business„ and alternate views. Me wants to for both characters. He keeps his drawings simple, looking for bo
r girl attractive and the hero likeable, with both very interested in each and ways to enhance the charm of the situation and the charade

drawings that do not quite fit the storyman’ $ current continuity are Vance presents his board to the Production Unit. Behind Vance is
on a second board called the ' 'goody board.'" They will stimulate ideas son, then Woolie Ret Sherman. Larry Clemmons, and, in front. \
text meeting and may he used to pin up an alternate continuity, It was always diffictdi to pin the sketches up in a straight tine
little of what Vance draws will be in the final film, but his early went up at the end, it was said that the storyman was an optimist
\iions will have influenced everyone who works on the sequence. down, he hyjs a pessimist.
Storyman
Writers of proven skill had been brought into [he stu¬ and a story sketch man who sparked each other, either
dio, but they were seldom given a chance to write. A through stimulation or sheet irritation. When any¬
Hiipt could be used in the beginning lo show sugges¬ one was try ing to prove that his idea was the very best
tions of what might be done with the material, but possible, he would work harder to make it as interest¬
more often the ideas were talked over, tossed around, ing and definite and clear as he could. The storyman
beaten to death, changed, discarded, revamped, built did the talking in the meetings, which gave him a
upon, and "milked11 without a single word being put definite advantage in presenting his own ideas; bat the
down on paper. Since animation is a visual medium, it sketch man could control the appearance of the boards
is important that the story ideas, the characters, the by staging rival suggestions less dazzlingly than his
business, the continuity, and the relationships he pre¬ own Usually some agreement could be reached before
sented in visual form rather than in words. So the Walt came to see the boards, but often a certain tesliness
storyboard was invented. could be discerned as the storyman started his presen¬
The first sketches to be pinned up were not the tation with the offhand remark. “The sketches aren't
continuity of proposed action but general illustrations very good, but. ..."
of ihe idea: groupings of characters, situations, loca¬ When the men in the story unit felt that they had
tions, the first attempts to visualize this story, Grad¬ somethitig to show, they would call for a meeting.
ually. us choices were made, more of a continuity was More often. Walt would barge in unannounced to see
seen, and. eventually, sketches emerged that defined how things were going. Since he had a habit of prow l¬
actual scenes that might be on the screen Through all ing through the rooms at night to see wrhat ideas were
(k*e changes, us ideas grew into something better or being generated, this type of visit usually meant that
failed to hold up, or were found to be too elusive to he had seen the storyboards and wanted something
capture in still drawings, sketches were pinned up and different—though this was never mentioned. He would
taken down, day after day. Il is a very flexible way to feign innocence with.14W hate ha got here, guys?" and
work. the “guys" would be caught so unprepared that they
The assignment sounds deceptively simple. Find the could respond with neither a hard sell nor an alibi. So
entertainment values in the story situations, then pre¬ they listened, and learned. As Dick Huemer said,
sent them visually through the feelings of the person¬ “Walt was his own best storyman."
alities involved. Until the spectator can sec an incident If Walt felt that some solid ideas were beginning to
through a character's eyes, there is no life and very showr up, or that some fresh ideas were needed, he
little warmth. So the discussions were not so much would call in other story men to get reactions. For
about "What happens next?11 as about character rela- quite a period he had what he called his "shaping
1;.'[whips and the funny things that people do. crew,” who followed him from room to room giving
A truly entertaining idea does not come easily, and their thoughts and suggestions. One disgruntled story¬
humor had to be considered a very serious business. A man who preferred to work completely alone com¬
gag was never accepted just because ii was funny; it plained about this "convention" method of building a
had to work just right for that spot in the story and for story, and top storyman Ted Sears summed up I he
that particular character. One new man was stunned at situation best with this pungent remark, "There's noth¬
his first story meeting. "Everyone was so grim," he ing worse than someone who comes in with a fresh
said "Noone was laughing. 1 thought, ‘Funeral direc¬ eye!" But out of this system came wonderful stories,
ts have more fun than this!1 ": filled with rich ideas that gave the animators the greatcsl
Will seldom had a single storyman working alone, help in the world. One of them commented in later
because he felt that two or three men working together years when he viewed an old film, “You get the feel¬
would generate more ideas and give greater scope to ing that every last frame of that thing has been worked
i'kir subject. Often it was a combination of a storyman over until it's perfect!"
 Watt wanted the whole sta ff
to participate in the budd¬
ing of each picture, and he
encouraged everyone to
submit gays on the current
story, Here are some of the
suggestion!! turned in for
the dwarfs in Snow White,
Story Sketch

A story sketch is not geography—it is not continuity

cartoon. He knew it would he almost impossible to do,
and it is not a diagram. Nor does it merely illustrate
and very soon his students realized this, too,
the dialogue for the sequence. Those are all the com¬
A story sketch man at the studio was usually an
mon mistakes of (he beginning story sketch man, The
artist who had a special interest in illustration, design,
story sketch should show character, attitude, feelings,
appearance, and character His staging influenced the
entertainment, expressions, type of action, as well as
layouts that followed, his approach established a style
telling the story of what’s happening. When you look
lor the picture, and his arrangement of the scenes and
^1 a hoard, it should reflect the feeling of the sequence
their storytelling value became a guide to the cutting
so (he viewer starts to pick up some excitement and
and presentation of the ideas in their final form.
stimulation. "3
Whereas the stylist had been asked to make heauti-
The story sketch is somewhat comparable to the
kd drawings in full color with no restrictions other
jYov Yorker cartoon drawings of the thirties, when This sequel
than the creation of an exciting illustration, the story
Harold Ross personally reviewed all the drawings in the film 1
sketch man was faced with the problem of making Stone, ant
submitted. He was critical of the staging, the charac¬
everything work and tit together and match the situa¬ bosh Wars,
ters. the whole idea; in fact, very little of the original and she m
tion on his storyboard. He tried to be flexible and keep
work ever pleased him. and he was especially upset if Kay. Thes.
an open mind, because he knewr that in the story meet¬ iBUI Net o
he could not figure out where he as the viewer was
ing his ideas would be only springboards to new and nencedstor
supposed to he while observing this situation.4 Marc greater suggestions. knowledge
Da\is used to give his art classes the assignment of sion. locate
It was difficult for the story sketch man lo maintain
Irving lo improve on the staging of a New Yorker and the opj.
a feeling ot detachment at these sessions, since he characters.

n; juiT Si

‘t I
 was the first one to put up a drawing with his heart in
it, The artists who followed would he just as vulnera¬
ble, but he was the lead-off man, Bven though there
were attempts to soften the blows (“We're not criti¬
cizing you, it's just the idea we don't like !*'), the fact
remained that the sketch man had believed in the draw¬
ing when he made it. Because their contribution toths
whole picture was so great, only artists who drew with
a special appeal or a sensitive style were put in glory
sketch, and the very sensitivity shat made them valu¬
able was what made them so depressed when the story¬
board was changed. And it was always changed. Thai
is the point of a storyboard.
Occasionally a story sketch man would become too
personally involved in his work and let his ego blind
Suggestions for costumes by Tom Oreb, for Sleeping Beauty. him to the needs of the overall story. There was a time
when one such harried artist could not stand the treat¬
n, Captain Hook has captured Tinker Hell and is trying to make her divulge (he
ment his lovely drawings were receiving. As a particu¬
Peter's secret hiding place, Pretending friendship, he plays on her jealousy of
ifinally wins her over. She marks the spot on the map. lar favorite was being tentatively folded over, he cried
Iradi explored camera angles, staging, acting, character development, locate, out, “Walt, you can't do that! Not that one!!” Walt
in these early sketches. did not respond directly but carefully and deliberately
pulled that sketch and the next three dear off the board, selling Wralt the ideas being presented. Totally unpre¬
(canny Ihe comers where the pushpins had held them pared for a chicken in the middle of his story, he was
captive: then he released the tattered paper to let it deep into the action as he approached the interloper:
flulter helplessly to the floor. He seemed to be en¬ 4‘Donald comes roaring around the comer, see, and he
grossed in the picture itself and totally unaware of slips on this crazy old rug here, and then he crashes
what he was doing to these **masterpieces/' but the into this lamp, and he's gelling madder, and then this
message (o the sketch man was unmistakable. No dia¬ chicken comes and he — uh — he goes an’ — he
logue is needed if pantomime can, tell it all. comes — he comes in here an1 — wrell, anyway,
Webb Smith was a great story man who drew in the Donald comes along here somewhere, , . ,vt The mood
eld cartoon style and became not only one of the best had been broken.
gagmen but one of the most innovative pranksters. Afterward the devastated storyman vowed revenge,
Once, he had been ridiculed by other story men for a but Webb had a way of protecting his own boards
particular drawing of a chicken on one of his story¬ from intruders, so the sketch ended up on some totally
boards, and he felt that some form of retaliation was in innocent man’s board just before his next meeting.
order. Just minutes before his co-workers were to have From then on, year after year, the great apprehension
an important meeting with Walt, Webb slipped into of every storyman was that the famed chicken sketch
(he room and pinned the chicken sketch right in the would appear on his board in the final tense minutes
middle of a storyboard. The story man usually tried to before Walt came for a big meeting. The sketch became
work up a fine pitch of enthusiasm as he told his story, more crumpled and tom as it was grabbed violently
billing the boards with a pointer, talking fast, and time after time and thrown dear out of the room, but
laughing as spontaneously as he could in hopes of somehow it survived for years

JoeR
shefe\

Joe R
Belli
popul
the tit
up pci
seart
to mo
femin
 Director

There was a greater variety in ‘ Music Room” proce

dure than in any other area, with Walt s leadership
being the only constant factor. Walt worked best when
he was uncluttered with details and able to let his
imagination run free, so the director's job began with
the process of picking up the pieces and trying to make
them all fit together. Many different men were tried in
this position, some coming front the ranks of the
story men who had a special sense of the whole pic¬
ture, and others from the animators who had a knack
of working with younger artists Layout men were
tried, assistant directors, and even people who seemed
to float between departments without any real cate
gor> to call their home. Many of these choices survived Walt’s interest lay. If something excited him, he would
fur only one picture. be deeply involved, telling everyone what to do; while
Walt never wanted to be told that he could not do if he were more interested m some other area, he left
something, especially if the reason was a technicality surprisingly big decisions to his directors, often hy
nr restriction of production. Still, he was realistic default.
enough to know these annoyances had to be consid¬ The most successful arrangement was the Produc¬
ered, so he put key men in the unenviable position of tion Unit, where responsibility was shared. The direc¬
having (o say, "No,11 when the ideas were becoming tor made the decisions but was aided by his layout
too Impractical. He could not tolerate a "yes man11 at man, a couple of supervising animators, and possibly
any time, but he bristled when he received any nega¬ a story sketch man on loan to draw up the new
tive response—it brought his creative drive to an imme¬ changes. Just because the storyboards had been moved
diate hall. down to the Music Room did not mean that they had
M times the directors felt like little more than clerks. been approved entirely Hopefully, the storyman still
Hying to put Walt's ideas on the screen, while at other could be persuaded to join this crew in the process of
limes they were expected to make sweeping decisions refining and developing without feeling dial all his
that affected the whole studio. It depended upon where careful work was being thrown out.
Recording

Wale wauled to "find” his characters before going Geppetto we had wranted a gruff, crotchety old man,
ahead with other story sequences or even the experi¬ who had a heart of gold but was accustomed to having
mental animation, so (he production unit began search¬ his own way since he lived alone with only his pets
ing for voices as one of its. first assignments. By this and his dreams. On the storyboards this had seemed
time, we ait knew the type of character we wanted in ideal. There was warmth revealed in his inner feelings
our story, but to find the precise voice that made him and humor in his put-on crankiness The perfect voice
just right was always a very demanding process. For belonged to the character actor Spencer Charters, and

temporary model sneeT of geppetto ‘2' Our first Geppea

chio had many a
PIINOCCHIO 73 ties of Doc y the
in Snow White, i
c ombined with Si
appearance of
who did the vo
we switched to a
o completely nev
emerged.

Temporary models of geppetto

PINOCCHIO
73 "'Wall Disney Pnxl
c rc
&*aWirt sms of ■■ c to
SiWJW To Horn - o
| <$ fog HUf sue V ti-AV
 itself either brings pictures to the animator's mind a
does not. The animators were also found to be man
alert to the little sounds* the grunts* the sighs, the
vocal mannerisms that gave the specific touches they
needed to make the cartoon drawings live. Personality
is revealed not so much in speeches as in mannerisms,
and more entertaining characters are created with the
little sounds rather than ihe actual dialogue.
It wras also discovered that many times the person
who had brought the sequence up to this point was
now drained of ideas; a fresh talent taking over and
working w ith the actors could adjust more readily to
the problems of the recording. If the voice everyone
liked reflected a slightly different personality from Ik
one planned, there had to be a shift in our thinking, k
was important that this new interpretation be evaluated
for what it offered. There often would be unexpected
our first model drawings were influenced by his appear¬ entertainment potential m a voice or characterization
3 us tram a/ivd ys added
xtra dimension so she ance, But. after nearly 100 feet of experimental ani¬ that a person w ith a preconception might miss. When
utters he portrayed, mation had been done, it became apparent that the Peter Behn tested for the bunny that was later to become
! nWrer, gagman, and Thumper, the reaction of the casting director was,
k, he helped build such hidden nuances that should have given the warmth
onaiuiei as Napoleon, were not as evident here as they might have been in “Gel that kid s>ut of there— he can't act!’1 This is the
arm dog in Aristacats,' live action. The character seemed abrasive and too danger of one man trying to do it all himself. It is easy
Sheriff of Nottingham to become so determined to get what you think yew
strong in his manner. We had made a serious mistake.
obin Rood; Luke, (he
With just one sequence in work and only the exper¬ want that you lose sight of what you actually are being
less muskrat in The
tiers. imental animation involved* it was still possible to offered.
back up and start over. The search now was tor a The difficulty of making this kind of judgment is
mellower man, more gullible, and with an old-world compounded by the 'Tin ear" that everyone gels as he
charm. These qualities were found in Christian Rub. listens to lines being said over and over. Soon the
The character was redesigned, the dialogue changed
to fit this new attitude, the sequence rebuilt around a
different personality; eventually there emerged a lova¬
ble old woodcarver who was both memorable and
believable.
For a long time Walt considered recording the voices
as part of the story man's responsibilities, since he had
been deeply involved in writing the dialogue and knew
so well what the lines were supposed to do for the
labor gave elegance sequence. In the fifties, this idea was gradually aban¬
ham fo Duchess in doned as more value was found in having the director
Kills and deter mi-
and the animators on the recording stage. It is very
i and compassion to
a in The Rescuers. important that the animators be able to “see' the atti¬
•anted more Comedy tudes and expressions when they close their eyes and
roles but we needed listen to the voice. Too often great voices or great
urmih and sincerity
actors prove disappointing in this regard; it is not a
ojecled with her dis*
t WifC. matter of talent or experience. The quality of the voice
 a climax of feeling. Other actors became overstimulated
and neglected subtleties of the character they were
trying to portray. Usually nothing was lost in having
actors record their lines separately, because a good
coach could bring out refinements in a performance
possibly missed in a group recording. Another advan¬
tage to separate recordings surfaced when either the
Phil Harris
animator or the director later decided to alter the amount bastion Cabo
of lime between twro lines—perhaps to change a char¬ characters a,
acter’s facial expression. If both voices had been re¬ Balov and B a
Jungle Book
corded on one track, with natural overlapping* it would
have been impossible to open up the sound track.
Phil Harris
We always tried to record only a portion of our Crothers slu
dialogue in the first session. On the shorts it did nol storyboards a
matter too greatly* since there was never much dia¬ they will rea
production m
logue in them anyway. However, on the features, our gestions and
contracts usually called tor five sessions over a period fWoolie Reith
of at least two years, and occasionally we had prob¬ to the hoard. J
is behind Sea
lems in finding the actors when needed again. [Phone
Alguire statu
calls to Europe, Japan* and New York were required Olfle Johns to

performances ail sound alike and no one can judge if

they are what is wanted. Once again* the team effort
of sharing the responsibilities offered the best solu¬
tion. So the director of the sequence was asked to
direct the recording session* with most of his unit
around him making suggestions, listening, discussing,
considering. The recording that was approved on that
day would be around to haunt them all for years to
come—it was important that it be the best everyone
could do.
Very seldom did the actors record all the lines with¬
out stopping; they took a page or two of the script at a
time. This gave them a chance to listen to what they
Mj \ J
had done and the director a chance to make sugges¬ * j ,/
tions. Separate bits of recording of the same lines were
| m
,L[akes." and they were numbered and referred to as L **i>l
"Take One or “Take Two" (or occasionally even
' Take Fourteen'H) when selections were made later of
ik best lines done. This sometimes led to rather con¬
fusing instructions to the assistant director: lLThere's a
better take in Take 3, so take Take 2 and cut off the
end. then lake that third take and take it dear to the
end.’'
Some actors worked well together, giving a natural,
conversational quality and building the whole piece to
Sandy Duncan, voice of
Vixie itt The Fox and the
Hound, with directors Art
Stevens (left) arui Ted
Berman,

one day to locate Peter Ustinov, who was working to give any line an unexpected charm. But though her
only a half-mile away at the NBC Studios in Burbank,) performance was exceptional, the reading was disap¬
We needed time to develop our characters and build pointing, lacking the crispness and definition we had
stories through their personalities, Jim Jordan, once anticipated. Experience told us the trouble had to be in
famed as Fibber McGee, was hired to do the voice of our script, and more work would be needed to give
our albatross in The Rescuers, He became alarmed Miss Duncan a clear character and a stronger situa¬
when we outlined our extended timetable and snorted, tion . We realized that we really did not know our little
"Huh! You better get me all at once! Pm seventy-six. fox as well as we thought we did.
y'know." Years later he was still recording voices for Back at our desks, we looked for business that gave
us on other pictures. changes of attitude, something to bring out real eon*
We learned to be very careful about choosing the cem, a situation that would show Sandy’s cute, zany
voice of a fine performer if it did not sound entirely side, and make use of the wonderful warmth she could
natural and casual. An outstanding stage voice, or give to almost any material. We wrote and talked and
even a straight voice, gave the animator very little rewrote, and when she came in again the script gave
visual help. Similarly, the phony voice or fabricated her the opportunities she needed. Her performance
voice of the imitator proved to be a problem because it surpassed our original hopes, giving the integrity, the
never had sincerity. In a parody or a satire the “put- surprises, the textures, the appeal that we needed.
on" voice works well, but it fails to convince an This kind of building and adapting naturally made
audience where be I iev ability is required. The straight extensive changes in the storyboards, and the storymar
voice will keep the character dull, and the phony voice was either enthusiastic about the great new possibilities
will lose the audience, that were now opening up, or he was slightly jaded
A difficult moment comes when a top talent does about all Ins careful work being aborted. Since the
not give a performance with either life or entertain¬ new suggestions had come under the director’s con¬
ment in the first session. Is this an off day? Is the trol, it was only natural that he keep the boards and
material at fault? Should we look for someone else? incorporate the new ideas. However, the changes were
We asked the very talented Sandy Duncan to do the not always successful or easily made, leading one
voice for our lady fox in The Fox and the Hound story man to pin a large sign over his door that read,
because of her fresh, disarming manner and her ability “It was funny when it left here!"
 Assistant Director

'['his individual is neither an assistant nor a director. whether sound or picture, was developed in the first
3lr is a troubleshooter and record-keeper who has the days of working with music and is more fully explained
job of making order out of the sweeping criticisms and in the chapter on “The Disney Sounds,” but it must
creative thoughts of (he director and the production be mentioned here in relation to the responsibilities of
unit. He works in areas where things constantly can go the assistant director.
wrong. Frames can become lost more easily than cat¬ The bar sheets are a chart on paper of everything on
tle on the range, and, as with the stray dogie, a miss¬ the reels and on the greys. In a simple example, a take
ing frame must be found—which is incomprehensible has been selected of Grumpy saying. ”1 don’t know,
(o live-action editors, who measure their film in arm but I’m agin ’em,” It runs 3 feet, 6 frames, and the
lengths Every last frame of a cartoon must be con¬ voices of the other dwarfs have been cut into the reel
trol ted if there is to be any sync with the voices, the in relation to that footage. Now, the animator finds
music, the sound effects, or even to match one track that the line lacks the emphasis he feels for that spot
to another. and prefers an alternate take, which had more vitality.
After a recording session, the assistant director takes The director agrees, so the line is replaced. But the
the selected lines and, with the cutter, splices them new line is shorter, running only 2 feet, 14 frames.
together so they will play like a radio script. Everyone Eight frames must come out of all tracks for them to
listens, criticizing the assistant for not leaving enough work with this new replacement, hut it all can be done
lime in some places, putting in too much in others, on the bar sheets first.
and occasionally for having cut in the wrong “'take1' As one well-trained assistant explained, “You do
somewhere else. When the track is approved, it is the cutting on paper, in effect, and if your hat sheets
written up on grey sheets of paper marked with many are accurate, the assistant director doesn't have to spend
lines, each one indicating a single frame of film on the time in the Cutting Room The cutter just does what’s
track, The slart and end of each take is noted as wrell as on the bar sheets!1^ That is certainly the ideal situa¬
the location of the words within I he take. Any change tion, but in actual experience it is seldom that easy.
in Ik (racks from tlien on will be made on these grey What works on paper may not sound right to the ear,
skels. crossing out some frame lines, patching in oth¬ and after trying a little change here and shifting one
ers. In this way, these “greys” become the living track to a new location and moving the music up
read of the picture, recording each shift, each change, earlier—somehow' nothing may seem to fit together
cut, replacement, switch, addition—every whim of anymore.
Ik director and animator. There is no more desolate feeling than being cooped
Before long, these greys will be so patched and up in the cutting room late at night with the film all
tattered that they are almost unintelligible, but records over the floor, with nothing in sync anymore, no appar¬
of another type kept at the same time will lake over, ent way to get back into sync, and the “greys 1 not
Failed “bar sheets,” they continue to be 1 "the bible” reflecting w hat is on the tracks. Somehow this usually
of the Music Room right on to the end of the project. occurs when there is a crucial meeting scheduled for
Hus melhod of record-keeping for every' piece of film. first thing in the morning to look at (he reels.

Cutter

The cartoon cutter has none of the latitude of his live- film, and, second, with keeping the all-important sync.
action counterpart to determine lengths of scenes or In order to have everything as flexible as possible
choose which shots shall be used. His job is concerned, while the animation is bringing out new ideas, the
first, with keeping, marking, and storing all of the sound should be kept on separate tracks. Even the
simplest film will have four tracks: two of dialogue, The whole unit may he eager to listen to a newly
one of sound effects, and one of music recorded track, hut the laconic cutter makes everyone
The cutter must list and save every take that has wait until he has scribed his takes and put everything
been made of each voice talent: [he selected takes that in order. In addition, he never uses his master track for
were tried in the reels, the replacements and alternates anything. He works entirely with prints so that the
that were considered, and* finally, all the thousands of director can try any ideas he wants without jeopardiz¬
tiny scraps that were extra sounds some animator liked ing the original. Cutlers usually seem uncooperative
hut could noi find any place to use. At the end of the since they are reluctant to take a chance just to hear
picture, he will be searching desperately for many of how an idea will sound. A baleful eye greets the exu¬
these. The joh seems more tike that of a librarian than berant animator who claims, ,4We can tell in a minute
a film editor, especially if the assistant director has if it’s going to work and then wre can pul it right back
done his job well, but, actually, there is much crea¬ the way it w’as!'' Somehow, ii never quite goes right
tivity and clear thinking demanded of the cutler, back, and hours are spent trying to find out why.

Character Model Department

in the mid-thirties, no mode! sheet of the characters stimulating sketches of all the new characters bein£
was official until it bore the seal, ‘lOK, J.G.” Joe considered.
Gram, artist, writer, designer, and, at one time, pro¬ Joe's drawings were done predominantly in soft pas¬
ducer, was the studio authority on the design and tel s, but his crew could handle every dramatic and
appearance of nearly everything that moved on the flashy medium known to artists. This was always a
screen, and his taste and judgment were largely re¬ source of annoyance, and envy, to the animators, who
sponsible for the pleasing style that identified the were restricted to line drawings and flat color. Joe
Disney product during thal period. He collected under seemed to have an endless supply of lovely sketches in
his wing, in Ihe Character Model Department, a strong his pockets, suggesting a nicer effect, a softer look, a
group of very talented artists who made inspiring and more interesting shape, and Walt asked repeatedly, |

SUGGESTED MODE LS
PEGASUS

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m0 V

r OSTRICH DANCERS
OiMCi or THE HOURS

/TV.. CONCERT
F-128
FEATURE
’

APTisr Campbell Grant

ELEPHANT POSES
OA WC£ of
tmF notjas

Sculptors. Ch
daratmdDuk\
port of a srm
of artists wh
drawings into
sionat master
artist Martin Provensen

AKTf$T: Jim Bodrero

ARTIST:
Affr/sr- Jim Bodrero wimp in the mluw
The Character Model Department evenluE
tu&xmons* paneled to include three sculptors who transla
“L-:- -zou- drawings into beautiful, little day figures of eat
acter. These were cast, and a limited number ol
models, painted in the colors suggested by the
Model girls,11' were distributed to the animators
were no elusive smudges here but hard reality la
and shapes magnificently done, and they were

Jk
aid to the whole animation department. Unforti
they were so good that Walt started giving sorr
to VIP’s as souvenirs, while others became per
decorations in the offices of lop personnel 1
-w
had a way of disappearing, especially as we net
end of a picture.

artist: Joe Grant

.arti$T; Joe Grant

**What ya got there, Joe?*’ Joe would casually reveal
his little masterpiece, causing Walt to exclaim, t!Yeah
. . . yeah! Look at this, guys, isn’t that better? Why
don’t we draw it like that?** However, there was no
way an animator could duplicate in line what had been
• : VI IJ '< ;
captured! with a slight smudge of chalk. Although wNt fi va
.V IT.4-1
stimulated by an improved appearance for the charac¬
- it
ter, we were completely frustrated by the technique.
ARTIST; Joe Grom
 The whole department was disbanded in the econo¬ it w as never reorganised. Only one or two of the men
my moves brought on by the second World War, and ever returned to the studio.

The Story Reel

The storyboards must now be altered to match these the director will see his whole sequence on film in
wonderful sound tracks, so a recording is made that running form, 1 his is the Story Reel, It is a revelation;
can be played while the crew watches the story man it is impressive—but it is also full of surprises; so
point to the familiar sketches. It is one thing to “tell '1 more corrections are made. Since it is almost as easy
a hoard, making the parts spirited or peaceful by the to change a sketch and reshoot it at a different footage
pitch of the voice combined with the tempo of the as to change it on the storyboard, revisions can be
presents!ton, but it is quite another to create any of quickly made and tested. A few pertinent sound effects
Lliis drama while trying to keep up with a sound record¬ are added to give a little zest, and some pieces of old
ing that races through the slow pans and drags forever music might be played alongside to suggest a mood. It
where it should be exciting. Obviously, something is easy to experiment with the reels at this stage, mak¬
must be changed in both sound and picture. This is the ing them Iwice as long, or shorter, bolder, gentler,
beginning of the continuing changes on the greys, and more exciting—the picture must be allowed to grow
they are erased, patched, and revised as the tracks are into something better.
repaired to match the new drawings that will condense Adding the element of time to the story business
some actions and expand others. always makes a startling difference. It is one of the
This process is repeated until a rough approxima¬ most difficult shifts for a story man to make, and often
tion is achieved of the way the sequence eventually he cannot see why his approach was not better. It is
will appear. Someday this film is going to be projected true that certain types of gags are more suited to pre¬
cm a screen at 90 feet a minute, and the sooner we start sentation in a still drawing, but some situations that
seeing it at that speed the better off we are. We can sounded very funny when told from the storyboard
lovc the individual drawings on the storyboard, lei our suddenly become very long and over-built, while
eyes linger over them, revel in the color and the details, others go racing past the spectators before they have a
but that is not the way the audience is going to see our chance to grasp what is happening. The ideas must be
picture. The drawings will flash by much too quickly converted so they wrill work on film and move the
to be appreciated by themselves Each image w ill add sequence closer to its final form.
a tiny hit to the whole concept, and this larger picture Everyone studies the completed reels. Does the
gradually growing in the audience's imagination is (he sequence play the way it was originally planned? Does
important one that demands all our attention. it develop naturally? Is it repetitious, does it just lie
Once the tracks and the drawings seem to relate in a there, is it confusing? The layout man can see what
comfortable manner, the director “times out'' his areas are staging well the way they are and what parts
sequence so it can be put on film. With the greys on need more development. He has found out where he
one side of him, the record player on the other, and the must strengthen and where he can save himself need¬
boards in front, he wrestles with the refinements, the less work. The animator can visualize his intended
actual frames involved and the precise staging required. scenes not only in relation to [he time allowed but to
Still more corrections are needed in the drawings, and the other scenes in that section, and the storyman can
the whole process may take several days, bul it is see if his ideas are actually working in this visual form
worth every minute of the struggle.
It is only one step in [he whole production procedure,
When the director is through, the story sketches are but it is a vital one that will speed up all of the follow¬
numbered, sent to camera to be exposed at the foot- ing functions as well as guide everyone toward a better
ages marked on the greys, and, the next day, Presto!; picture.
 Layout
The layout man has the responsibility for the appear¬ have to make our decisions when the film exists only
ance of the picture * scene by scene, and as a total him. in our dreams. It is far easier w hen there are tangible
If a special style has been set for the production, hL strips of film that can be spliced together and tested
adapts this work to the bread-and-butter needs of the and judged.
scenes. He works with the director on the staging and In theory, the layout man plans his sequence care¬
dramatization, building on the ideas of the story sketch fully in rough sketches, working back and forth to find
man. He designs the backgrounds, suggests the pat¬ the best wav to solve all of the problems inherent m
tern of action for the animator, indicates camera posi¬ any film. Surprisingly, one of his biggest headaches is
tions for the most effective shot and the cutting that in keeping the directions dear and consistent as the
will tell the story in the most entertaining way. characters move across the screen or exchange looks
In live action films, this important cutting, or editing, during dialogue. As long as the scenes wrere presented
as they prefer to call it, is done after [he film has been as seen by an audience watching a stage performance,
shot. The arrangement of the pieces can give the pic¬ there had been little problem. But onee [he camera
ture special meaning, excitement, suspense, purpose, moved among the actors and through the sets, it became
or just as easily make it a dull conglomeration of more difficult to keep the audience oriented. Since the
tedious, endless scenes. The same potential exists in scenes were planned to stage the business rather than
the animated film, but we must operate in reverse! We clarify the precise location of the characters, there

•from the Layout Book » V,QftKIftMS C y*

:h was standard at that
\for Snow White. The
<n sketch is at the lop,
'ocaie and mechanics
ie bottom. Scene I:
I.1 White comes down
sr runs across room to
e in fireplace iit left.

*1

« jf from Layout Hook;

:ifs come down stairs, tz*w TkLi-* n* 11*1*4 P r -r*'
■ r —J pw 7.V fir-C-]w■ (L^-ilpp
ri#i mrf 1 !-**&:<+ Sm |«n totttf
to right. Snow White ■Jf Mn„ *7+ l,ltM M4p
*1*4 Li feWh ^’>'r F-LSrt--.
gone lo the left! The
ition of the camera has
i shifted far this scene,
the audience still sees
<w White go one way
'the dwarfs go the other
[hich is why the layout
i ray that keeping direc¬
ts dear is their most
iortant job.
 Rough layout drawing of
Prince John's castle in
Robin Hood, showing the
geography, the character
relationships, the design The type of pie tori id shot
and the style of the picture. below it is more fun to do.
All of the other scenes in There are net characters to
this sequence will he based worry about, just a good
on this master drawing by drawing wish a strong
Don Griffith. mood to Jit the situation.

A4 : — 'TA¬ Layout sketch with sug¬

gested camera move. As
Snow While gets to her feet,
the camera follows her up,
losing the animals. Less to
BS Y*' c draw, less for the audience
S^SHh- „ if
to watch.

I■ '
■■

Full-sized layout sketch

with the figure in it—will it
JK work as planned in the Lay¬
f ^Lp out Hook? The girt must
run about to instruct the
animals on what to clean,
The length of the sound¬
track did not allow for this
much movement; so, even¬
tually, this action was done
in a dose-up.
 Imaginative Staging Helps the Sequence
g problem: the
Lady and the
pposed to turn
the irritating
ning from the
iliminaty stag-
strength in the

In the final drawing, he not

drawing sr he
only turns away from the
rn his hack to sound but covers his ears
giving him a as well.
tge of attitude.

t secret agent
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v-hole below, AwQ OTefc&L 'TMltdQZ THAT iVQJUt? PEASAJ

ayout lacked ArreNTicn^ awav fqoia actok) .

tortraying his

HiJeiZDfoS
G&rJ CAir*&et PfflCJSLCfrA^.p,
aginative ap-
dialely added
involvement.

'IIt to give the

' Penny was
in a cavern in ;«W5aCt££ jj= J

► until this shot pi. v*£7pE HDHilOM .'’j

BCf^CufT.
Xtinu :>*J- *j,-vuJ £
ed . With lay - "S-itC «E fl
rf, She anima¬
te make his Cflrj£»rt Van Osten of the
me properly, Comic Strip Department
w difficult the prepared these sheets to
pec five for his explain the importance of
staging to young artists.
were con slant examples of someone apparent])' looking Ken Anderson. , . . I have to go back to my desk and
away as he spoke to a companion who was not show¬ think about it a little/*
ing in the scene. Arguments raged and diagrams were Here is a list of some of the things the layout spe¬
produced to prove that a concept was correct: “The cialists think about, taken, from the scraps of paper
camera is here. Mickey is here. And Donald is there! pinned to their desks. They come primarily from Ken
He has to look to his left to talk to Mickey!” But O’Connor and Don Griffith, with a few from Ken
regardless of analysis, it never looked correct to the Anderson, hut much of the wisdom goes back to their
viewers unless a dear direction from one side of the teachers.
screen to (he other had been established. Charlie.
There is more fun in drawing up the big pictorial 1. One quick look is all the audience gets—keep it fore the,
scenes ihat show the whole set-up and establish both simple, direct, like a poster; it must sell an idea/ ofPinoci
scene wc
(he mood and the details of the locale. Often the pic¬ 2. Fancy rendering at a later date cannot save a
ate a w
tures on the screen will tell as much about how some- poor original conception. dimensk
ore feds as (he acting; it is a combination of the 3. Always keep screen directions clear. This will Mode uf
mood and the relationship of the character to bis sur¬ be your biggest headache—don't overlook it. ports, it
the capo
roundings. 4. Keep informed on: art in history—architecture, tipiane t
With the exception of the first four or five features, costumes, landscapes, siaggera
most of this procedure has remained only theory for 5. Keep informed on: styles. mediums, textures, twice th<
plcte shi>
(he layout man The animators need work before there surfaces, composition, drawing.
has been lime to plan anything, the background painter 6. Keep informed on: technical information—ef¬ In contra
is wailing to experiment with techniques and colors, fects given by different lenses, ground glass, filters, had no
the director wants him to make some sketches to repair gels. What the optical printer can do for you. than sot
movemet
the story reds, and, somehow, the part he has been 7. Mood can be established by timing and move¬
by using
ibinking about has been revised before he even had a ment: yet it got
chance to put any thoughts down on paper, Some men Sad or Quiet—long scenes with slowr moves premiere
can adapt quickly to such changes, trying one idea compile a
on pans, trucks, and characters.
virtually
after another on the spot, but most need time to adjust. Happy or Excited—short scenes, fast cuts, ing Walt i
As one remarked, "I cant do sketches on my lap like quicker moves on camera and characters. again"
 I uy/ uiman Ken O'Connor
bull an actual model of the
coach and photographed it
at an aid to drawing in
changing perspectives.

J
Final cels of the coach ■w

show the accuracy of draw¬

ings that came from this
approach.

A circular putt is suggested

in thepreproduction plan¬
ning of Cinderella's coach
ffl its way to she castle.
Four Ways to Plan and Make the Layouts

1. The Thoughtful Thumbnail

Developed by Ken Anderson and Wilfred Jackson for
The Song of the South. With their knowledge of stag¬
ing, layout, and visual communication* they worked
from (he storyboards in small thumbnail sketches, try¬
ing one way after another. When a continuity finally
was found* the animators were called in to criticize
and suggest still more ideas. W ith Ken's amazing abil¬
ity, sketches were made as fast as the men talked.
These became the basis for the final layouis, cutting, *. i
i'(Tfc, J,. - -t.S tiifSl U£m fv,j, *juj rm _i

and staging, and showed the animator where his scene M'f -A$‘‘ T *tr.f T Tt . . _
ovr , p,/ >S(D ur * i
■'3*.!. £ -(dutJ , - -
fit into the full continuity.

2. Traditional
More thought is put into visualizing the actual layout
so that everyone will know exactly what is being
planned and can judge if it will work properly. Changes
still can be made* but they generally are confined to
small things, such as extending the draw ing so a slight
pan move can be used, or moving a piece of furniture
to make more room for the character m the scene. This
method w'orks best it the layout man has had enough
lime to plan the staging for the whole sequenee.
Also contributed by Ken Anderson, the idea here is to
stimulate everyone to the possibilities in a situation
and a locale, giving the director, layout man, and
animators a chance to choose the staging and layout
each liked best. Ken inspired us with the possibilities
in the visual presentation, going far beyond business
and staging.

4. Long Shot or Establishing Shot

For The Fox and the Hound, Don Griffith established A scene of a closer shot along the fence is planned,
with this master shot the houses of the hunter and the keeping all the spatial relationships established in the
widow, the distance between them, and the details in long shot. No matter what camera angle is chosen,
everyone in the unit knows what should be shown in
such a shot.
Experimental Animation
With the voices recorded and the lead story sequence personality traits apparent in what they do to show
approved in the story reel, it becomes time to start the who they are and how they act.
experimental animation. The term is misleading in some Some animators prefer to start with the acting,
ways. It means thaTa supervising animator will now revealing the personality of the new character through
take these ingredients along with the suggestions for what he does and leaving the refinement of his appear¬
the appearance of the main characters and, putting it ance until they know him better. Others feel just as
all together, see if he can come up with a personality strongly that the appearance is primarily a drawing
that comes to life on the screen and is interesting enough problem that must be conquered before any acting or
to hold the picture together. movement is attempted. Animators, like artists and
The sequence that is chosen for the first story work actors everywhere, are all different, and they each
involves the main characters coming together in an have to find their own approach to their work. Much
interesting situation. For instance, the first sequence of the strength of the studio actually has come from
of Pinocchio was the one in which all the characters just these differences in the individual animators, which
are introduced in Geppetto’s house. The action here is
subdued enough so that everyone can observe the
appearance of these new figures, and there are enough

Our first Pinocchio had wooden hands, a stock¬

ing cap, and a cocky personality. Walt found
this to be too brash and lacking in appeal, so
we stopped animating until a new design could
be found, matching a new story concept of the
character.
Fred Moore's drawings at upper right sug¬
gested more innocence and the proportions of a
boy rather than a puppet.
Milt Kohl’s drawings of the chubby, naive
little boy in the Tyrolean hat became the final
model when we resumed animating six months
later.
account for the variety of feelings and characters they
can portray on the screen.
The general appearance of the character can be
almost any design that fits the story and the overall
style of its presentation, but the specifics of how he is
drawn depend entirely on what business he has to do,
what attitudes he must show, and what expressions he
will have. The voice will suggest many facets of his
personality, but the needs of the story and his place in
it are the major considerations. Once you know what
you want him to do, you will know how to construct
him so that he can do those things best. His job as an
animated character is to communicate story ideas in
the most entertaining way, and just being alive is not
enough.
We must study the design carefully, questioning the
shape of his whole figure, his costume, his head,
cheeks, mouth, eyes, hands, legs, arms—even the set¬
ting he is in and how he relates to it. Is the scale likely, a way to build to an even more entertaining
correct? Is it drawn to give the best advantage to the action, but the main reaction is one of enjoyment and
character? Does it support and fortify his personality excitement.
so that he feels dominating or timid or clumsy or defi¬ Walt seldom complimented anyone, letting us feel
ant, or whatever he is supposed to be? This is as much that sheer perfection was the standard he expected of
a part of the problem as the type of movements he has, everybody. Nevertheless, we will always remember
the timing of them, and the acting in both body atti¬ his reactions to our experimental animation of Bambi
tudes and facial expressions. and Thumper. He had been concerned over our ability
However it is done, eventually there will be about to make four-legged characters have enough personal¬
75 feet of film animated and projected for all to see ity to sustain a whole feature, but when he saw our
and criticize. It is interesting that the reaction always first efforts he turned to us with tears in his eyes,
follows the same pattern. If the characterization is “Thanks, fellows,” he said, “That stuff is pure gold!”
weak for any reason, the drawing is criticized. If the It was one of the few times we can remember his
business is weak, the characterization is criticized. For coming right out with a sincere compliment. Les Clark,
some reason, the original business, also being tested at one of the earliest animators at the studio, remembered
this point, is assumed to be infallible, and only the its happening twice in 39 years, when Walt said he
new figure’s appearance is tom apart. particularly liked the Mickeys Les drew; usually his
One young animator was quite shaken by the criti¬ approval was indirect or buried in some other thought.
cism of his scenes. “The best drawing in the world He did not like to expose his feelings, and it was
wouldn’t have helped because it would still be empty; impossible to thank him for anything. He would cough
it was because of the emptiness in the business that and scowl and mutter, “Yeah, uh—well, say, we’ve
they criticized the scenes.’’ He went on to explain, “I got to get going on this thing, y’know; it’s gonna get
can’t make a drawing until I know what I’m trying to way out of hand if we don’t pay attention here. . ..”
draw.”7 With the experimental animation approved, every¬
If the business is right and the animator made the body could go back to work with a new idea of what
right choices on his drawing and acting, everyone is this story is going to be and how it is going to be told.
elated. There may be tiny suggestions about details, Once the characters have been seen as living and act¬
appearance, or ways of doing something, or, more ing and showing very definite, specific, and, especial-
ly, entertaining personalities, everyone knows how to situations that will give these characters their best
handle them. The story man can now start on the next chance for great performances. The rest of the anima¬
sequences with more confidence; the layout man can tors are brought on as suitable work is found for them,
work with more precision; and, also, very important, although it may be six months before everybody can
the “inspirational sketch” man can start exploring new be working full time on the work each does best.

The Handout
The animator gets more than just a scene and a pat on Jackson was used to the sounds of a musician working
the back when he picks up his work from the director. out a pattern as Bert jumped from his table to the floor
There is a tape or record of the sound track, along with repeatedly, trying to capture the timing of fleas jumping
an exposure sheet, which is not only an exact copy of off Pluto’s back, or even the “thump-clop, thump-
the scene as it appears on the greys, but it also con¬ clop-thump-clop” as Peg Leg Pete ran after Mickey.
tains suggestions for accents to be caught or certain But this sounded more sinister, and Jackson just had to
staging to be maintained. The animator will get a copy go up to see what was going on.
of the final storyboards so that he can see how his His eyes popped as he opened the door. “Here was
scene fits into the whole sequence, and he will have Frank Churchill over at the piano with his cigarette
the layout showing the size of the characters, their hanging down, with his eyes closed and his foot
suggested positions, the extent of their movements, stomping away,” while on the other side of the room,
and the area in which they are working. In addition, Bert had Fred Moore up against the wall and was
there is a full scene description which reminds him of swinging wildly with his fists. Fred was trying des¬
why the scene is in the picture, what it is supposed to perately to duck and break away, but was doing little
achieve, and what has been considered entertaining to defend himself. Jackson stared in horror, wonder¬
about it. ing if he should call for help or try to stop the fracas by
When we were younger, the director and the anima¬ himself. Suddenly it all stopped, and the three men
tor acted out everything for each other, down to how walked back to the big table and looked at the expo¬
Pluto would eat out of his dish. The handout of only a sure sheet, marking down actions and timing. They
few scenes could take the whole day because the idea were working on a scene from Ye Olden Days where a
was to pack as much entertainment as possible into big horse has a fight with a donkey.
that continuity, and we knew it could be still better, no There was always great value in this process of
matter how good our last version sounded. Elsa Lan- acting out a scene. The animator even had his assis¬
chester said of the business she had worked out for one tant do it when back in his room, so he could see how
of her scenes, “There’s always a better way, you know. the scene looked and determine the best angle for draw¬
No matter how good it is, there’s always a better way, ing it. This helped in deciding how best to use the time
and you have to keep trying, don’t you?” Back in the for putting over the business, as well as noting all the
thirties, we talked of how Chaplin would do the scene, tiny details of the action.
or perhaps Buster Keaton, or one of the fellows in the The handout is not finished when the animator takes
studio whom we both knew, and we climbed on the his scenes and layouts and tracks and readings down to
table and over the chairs and all over the room chasing his room. He is still turning things over in his mind.
imaginary cats or villains or whatever. The director has told him that these particular scenes
One day Wilfred Jackson was disturbed by violent are the most important ones in the picture, with the
sounds coming from Bert Gillett’s room directly above best entertainment potential, that probably no other
him. “I heard this terrific music going on with thump¬ animator could do them as well, and that he really will
ing and bumping—I thought they were moving furni¬ make a name for himself on this picture. The animator
ture or something.” Gillett was the other director, and listens to a record or tape of his sound track and won-
 ders if they really picked the best take of the dialogue. scene without any life if the animator does only what
He looks at the layout and wonders if this is the right he is told to do. Perhaps he is not thinking about the
way to stage the business. Is the character too small scene in the same terms as the director, and that possi¬
for the expression to read? Maybe it should be two bility, coupled with the likelihood of a mechanica
scenes. He makes some thumbnail sketches, studies performance otherwise, makes the director do some
the photocopy of the original storyboard, then storms thinking. He has an opportunity, now, to get a scene
back up to the director’s room with a whole new idea. that sounds different from what was planned, but one
“Hey, wouldn’t it be better if we did this in a close-up, that has enthusiasm behind it and a good chance to be
facing the other direction and saying this second line just as entertaining; it is worth considering.
of dialogue first? Then we could add a gulp, and maybe A compromise is reached, the track is shifted, the
a sigh, and then go into that other line. ...” The scene description changed, new layouts made, expo¬
layout man turns back to his desk muttering some¬ sure sheets and greys are corrected, and the enthusias¬
thing that no one hears as he starts a new layout. tic animator returns to his drawing board. The handou
The director must listen because he may get back a is over.

Supervising Animator
This title meant that the individual was responsible for ideas on how to keep him consistent in appearance
the work done by the men under him. Ordinarily, he suggest business that might fit into their section of the
’animator is would be assigned anywhere from one to seven or picture, or discuss further ways they all might develop
training the eight animators of varying talents. If they were strong, the character. He might also commiserate when things
r assigned to experienced men, he had little to do. They would pick went wrong or try to defend his animators if they were
inston, left,
up their work from the director and do the scenes by unjustly criticized.
le discuss a
l animate in themselves. The supervising animator would talk to When the animators were less experienced, the
he Hound. them about the character they were doing, exchange supervisor did whatever was necessary to help them
get a satisfactory result. He was present at the hand¬
out, making suggestions and being sure that these men
understood just what was wanted. In some cases, he
made the key poses for each scene and even shot them
on film as a guide for how the scene should work
Afterward, both drawings and film were turned over
to the new animator, allowing him to concentrate on
just the movement within the drawing rather than worry
about all the other aspects of doing a scene. This young
artist still had the problem of making that movement
convincing and entertaining with the quality of life we
wanted; his energies could easily be dissipated if he
were expected to do too much all at once.
We estimated that it took a year and a half to learn
the basic fundamentals of animation and another five
or six years to be at all skillful. Even so, we never
outgrew the concept of helping each other, exchang
ing drawings and sharing ideas. It was the basis of the
team effort and enabled us all to do far better than we
would have by ourselves.
The Animator
Story, layout, painting, styling—these are creative jobs, the values of the scene as it stands. More than one top
difficult and rewarding and interesting, but essentially animator has ruined excellent story material by insisting
concerned with solving problems in the most artistic on animating a scene when he does not understand the
manner. Only animation is magical. This is its appeal. humor in the story situation or feel the action.
The creative artist can make something here that exists The animator works back and forth through his scene
and breathes and thinks for itself, which gets back to until he has made the drawings that control the move¬
our test of all great art: does it live? Techniques can be ment. He might have to make a drawing for every
copied, mechanics can be duplicated, and even the frame of film, or his key drawing might occur only
drawings themselves traced, but the spark of life comes every foot, depending on the particular action. The
only from the animator. His taste, judgment, and ideas number of drawings is immaterial, because as an artist
are unique with him and his animation. It is a highly he would be drawing day after day in any job he has
individual effort. taken. Here, his drawings happen to be in continuity
As a person, the animator may be shy or introverted, and related in a very special way. He discards far more
arrogant or domineering, quiet or pensive; it no longer than he keeps in his attempt to capture on paper his
matters. Personality traits fade away as an artist enters feelings about the scene, so his concern is not how
the private world of the drawings on his board. Through many drawings he has made, but how well they depict
the characters he creates, he can be adventurous, crafty, the vision in his mind.
funny, evil, lovable, athletic; he can be a bird, a flower,
a snowflake, a shaft of light. This is a very attractive
prospect to most of us.
At times his scenes appear to be controlled too much
by others; the design of the character, its personality,
the layout, the amount of footage are all determined
by someone else. However, as a contributing member
of the group, the animator undoubtedly will receive
more stimulation than restriction from this process.
While the layout man was thinking primarily of
storytelling and design and mood when he suggested
the locale and the props, he undoubtedly had strong
ideas of how the character should act as well. Equally
strong ideas were held by the storyman, the director,
and everyone else who had contributed to the scene up
to this point. Now the animator must build on the
work and the ideas of all these people, selecting and
discarding carefully, sifting and judging, suggesting
and changing, until he has found a pattern of action
that is just right for him. He must understand it and
leel it; it must be his own, regardless of where the
ideas came from. It is this personal thinking of the
animator that makes the scene good, not the reliance
on others to tell him what to do.
This does not mean that he is obliged to change the
business or feel compelled to think of something com¬
pletely new. First, he must listen and try to appreciate
The idea for this scene in Vance Gerry develops the
The Fox and the Hound situation in his story sketch.
comes from an inspiration¬
al sketch by Mel Shaw of
the foxes meeting in a ro¬
mantic setting.
 These rough animation
drawings from The Jungle
Book establish the action
and capture the adoration
that the boy Mowgli has
for his new friend Baloo,
the bear.
4Ml) AvUialPWooS wm os? sHwtt
High-quality clean-ups A&AUIST
are required where the
drawing of the eyes and the
subtlety of the expression
are the key ingredients in USuAW-i PACT of 'Irt'fc goov WHICH IS CutfuE 0
the scene. These were done is n+fc M\j$cuiM on fiesHV Pact mich sewr ai? ?aos VARY THF THAPf'i
by specialist Dale Oliver lnJUJAJ?D . *|He STRAIGHT i$ ysUAiLy 1HE fdReP IN SI^/5«A<¥
and projected amazing life P/hct vuhi^H sirettchO oh paaS ti&ht iwhcv Sent 0<l DlilFCTl®V.
on the screen. 6F 'HU NIU. Hap DTftisn/8AifcKTS
MO cyROfS iai an 65^ar wen in a RfiMteO P^itioaj ,

parallels

Before Walt Stanchfield

moved into animation, he
made a whole booklet of
the common problems and _ _ „ , oif AS IAI IHtr VAtfV 'THOM 1*1 Sl<
IHr fatest ee-reue c^£ofihe <s&>opiwc, A«6|0 ENSUES Ml «***/ sfl*Pe,DiR«TieN
mistakes of the beginner in fEAnUFI^S^IWtERS |TT<'
whoj ihe 'fLRHV Part ts hrir op femei?s . DiSTAnjit APART*
clean-ups. these are two A^aiaIsI SoMeTHiaK* 1?i*«0.
sample pages.
Assistant Animator

Gradually we developed a professional class of “clean the reels away from a distraught assistant director “for
up men" who took pride in their work. It was their just a couple of minutes; we want to see how it looks
skill that made the pictures look so fine, yet for a cut in the reel!” Together they budgeted their work
number of years they never got screen credit, nor even and met their deadline. No other system retained as
the salary they deserved. They sometimes were com¬ much quality or moved as much work without losing
pared to a blocking back on a football team who clears control of the way it was done.
the way for the star runner to make the yardage and the Assistant animators who had this much ability were
headlines, and it was true that they had to take their seldom content to stay in this position for more than a
satisfaction from the success of the sequence on which few pictures. Some went on into animation, but most
they had worked. went into other types of jobs where their interest in
They studied line drawing, training on Holbein, detail, refinement, and design was stressed. Unde¬
Degas, Daumier, Da Vinci; they watched drapery in niably, it had cost more to have a clean up man redraw
movement, noting the difference between filmy the complete scene, but it was the only way we could
scarves, woolen skirts, flowing capes, and even baggy have produced the rich characters of the first features.
pants; they learned the value of a sharp, crisp line In later years, as costs continued to soar in all depart¬
against a large, soft shape; they knew how to keep ments, a new procedure called “Touch-up" was insti¬
a design in the free-flowing changing shapes of ani¬ gated. It asked that the animator draw slowly and
mation rather than make a rigid copy. They always carefully enough so that the assistant need only touch-
extended the arcs of the movement, squashed the char¬ up the drawings here and there to make them ready for
acter more, stretched him more—refining while em¬ the Ink and Paint Department. By this time all of our
phasizing both the action and the drawings. They animators had become more skillful and were able to
understood the business ot the scene, what it was sup¬ adjust to the new idea without noticeable damage to
posed to achieve, worked closely with the animator in the product. Top quality clean up work is needed on
deciding which parts were developing well and which only a handful of scenes in any sequence, and a great
parts needed a little help, and they could see the char¬ variety of shortcuts can be used on the balance to
acters start to live as they “rolled” the drawings on make them acceptable.
the pegs. This required a special kind of talent as well Unfortunately, the assistant’s work over the years
as study—not every artist could master it. has been considered an area where money can be saved.
The best working plan seemed to be the small unit The production manager watching the money will have
of only a few men who, with the animator, carried the been frustrated through the early days of production
full responsibility of doing everything on their own since there is no way for him to measure ideas or work
scenes. An ideal group would include an assistant ani¬ in progress. But once drawings have been made, a
mator who was experienced enough to make simple smile envelops his face. Here is something that can be
animation changes and corrections, a second assistant counted, checked, timed, and followed through the
who drew well but was just learning his job, a reliable plant. The term “pencil mileage” is heard often as the
breakdown man, and an eager inbetweener who could number of artists plus the speed of output is balanced
double as bookkeeper and handyman. This last cate¬ against “footage to be done.” Between trying to please
gory included everything: threading the film on the the animator who wants the best and the manager who
Moviola, taking a test over to the cutter, running up to wants the quickest, the assistant must reach a com¬
the Music Room for a corrected layout, or even prying promise that still satisfies his own standards.
Pose Test
The quickest way to see how a scene is going to play is quite a good feeling of how that part of the sequence

to shoot what we call a “pose test.“ While the anima¬ will play.
There is also a possibility that the scene may look
tor is setting up his scene, figuring the size, the move¬
ment, the acting, he is making rough drawings that funnier and more interesting in poses than it ever can

will become the basis of the actual animation. Now, in full animation. Fred Moore had a famous scene in
Snow White that always worked far better in the pose
instead of refining those drawings and relating them to
each other, he sends them to camera just the way they test. The scene showed Dopey and Happy very con¬

are. They are the key poses for the scene and show cerned about the magical powers of the evil queen.

how the scene is being planned. By shooting them at Grumpy had just informed them that she might be in

no less than 4 frames apiece and no more than 24, both their room “right now!’’ Fred used about eleven poses

the director and the animator can see it the action will to show Dopey looking from side to side, then glanc¬

be strong enough, or too strong, and it the amount of ing at Happy’s beard, lifting it, searching under it,

time allowed for the scene is going to be right. When a then receiving a “bonk“ on the head. When this pose

series of pose tests are cut together in a reel, there is test came back from camera, it had a surprising crisp¬
ness that gave excitement and a feeling of nervous
apprehension. There was a big laugh the first time it
was shown in sweatbox, but that was the best the
scene ever looked. From then on it went down hill.
Fred made new and better poses as he animated the
scene, but the crispness was gone.
AV$"yo\j llirif U/.TUA
After several unsuccessful tests, in desperation he
c. • O Vp^ 6
“to as.G^«ch'To Akjb AhiGo.
went back to his original poses and tried to work
between them, hoping to recapture the sparkle that
was in his first pose test. That was even worse. He
never did find the right combination of timing and
spacing and regretted ever having posed the scene in
the first place. The sweatbox note shows Walt’s effort
to get more life in the scene:

Scene 31 Shoot corr. ruff.

 dialogue that had been recorded was excellent, the
Be closer at the start of this scene, and as you pan
story sketches showed clearly what great entertainment
up, come back at the same time.
there would be in the situation; it would be a wonder¬
The minute Dopey looks under the beard, have
Happy turn right around and hit Dopey, taking out ful sequence to animate.
A meeting was scheduled to make the final deci¬
the stall you now have. Happy would take it just as
sion, and the animator was determined that this mate¬
the extreme was reached and turn right to hitting
rial should get the best possible chance for approval.
Dopey.
For three days and nights he worked, posing scenes,
Fred, you suggested that Dopey’s head, from the
roughing out new sketches, making out exposure
bonk, would go down and pop up again. . . . Walt
sheets, shooting held drawings and story sketches, until
okayed it.
he had a running reel on the main part of the sequence.
It was crude, but it sold the idea. Without the pose
Despite some negative aspects, pose tests have a
tests showing the possibilities in timing and reaction,
distinct value, as we discovered when working on
the sequence would have been cut from the picture. As
Bambi. The sequence of the young deer on the ice
it was, the relationships were built into even more
with his friend Thumper was about to be cut from the
entertaining actions until that section became a high
story as being extraneous business. The animator who
had hoped to work on this section was appalled.8 The point in the whole picture.

The Work Reel

this spot in the picture. Here, they will benefit from
When the animator has film on two or three of his
the suggestion of activity and personality in the scenes
scenes, he wants to see how they play in continuity.
just preceding, as well as the ones that follow.
By themselves, they may look just great, having life
As each animator continues this practice, the story
and sparkle and clarity, or they may be a complete
reel gradually becomes the work reel, or the ruff reel,
disappointment. All of this can change completely when
since it contains all the scenes of rough animation.
the scene is viewed as part of an overall continuity.
Coupled with the matching sound reels, they are con¬
After all, they have been planned to work in sequence
stantly changing with the latest revisions of footage
and that is the way they should be seen. The dull scene
and scene cutting. As each new test comes in, there is
may have just the subdued feeling needed tor that
usually a request for the addition of a sound or a slight
spot, and the active one may be entirely too violent.
shift in position for better sync. In this manner, the
The only way to be sure is to cut them into the story
work reels, at all times, reflect the progress of the
reel, replacing the story sketches that are occupying
sequence and show whether the anticipated entertain¬ will be covered by the figures. The director wants the
ment is actually there. work reels for his sweatboxing, the animator needs
Everyone can learn something from them, even in them to study his changes, and the assistant animator
this rough form. The layout man might discover the must check the scenes he is to clean up. Throughout
mood and design is not as evident as he had hoped, or the day, the assistant director will be trying to grab the
the background man can find out how long a certain reels so he can make all the changes that were requested
background will be on the screen and how much of it yesterday. They are a popular and necessary item.

How Does it Look?

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

posed to be exciting and is not, now you must do what

you can to make it exciting. If it needs suspense, put it
in. If it is too long, trim it, and if it is too short, Walt quickly realized tha\
add—but add very judiciously. If it is redundant, or the relationship betweer
the jealous Queen and the
fails to make its points—whatever the problem—you
unsuspecting Snow Whitt
must work with these pieces of film until they become was the main thrust of tht
the best picture you can make of them. story.
Too often the money is all spent by this time and
someone is screaming that the picture must be com¬
pleted in any form, “Just get it done!’’ But that is a
sad decision. This is the very time when the most
creat’ve work must be done. Famed film director Blake In The Rescuers, it was not
Edwards said in an interview,9 “It’s nothing to bring the conniving of the wild,
unpredictable Medusa that
a picture in on schedule or under budget. The hard part
gripped the audience but
is making a good picture—I don’t care what your the poignant predicament
of the lonely, little girl.
d dragonfly largely through keeping our procedure flexible, we
'he Rescuers ended up with the best balance of story-character-
n incidental
sequence relationship we ever achieved.
ir role in the
While working on The Rescuers, we thought that
the greatest interest would be with the two mice and
brought about in their lives by an unexpected visitor. their overwhelming problem. We worked to make them
The queen and the girl were necessary parts of the small and inept, but determined. Medusa, we felt,
story, but we would not dwell on them. When we saw would be a spectacular villain, slightly mad, powerful,
the whole picture in a very rough form that exciting and a constant threat. The crocodiles would be in¬
night, it was immediately evident that the tension vincible, stupid, and chilling. They would be the scary
between the vain queen and the girl she was deter¬ part of the film. The little girl would have to be done
mined to kill was the main drive of the picture, and very carefully because she was presented as a real girl,
anything that interfered with this story progression not a caricature, and since she would be difficult todo we
seemed extraneous. As a result, two whole sequences tried to keep to a minimum the scenes she was in. We
featuring the dwarfs were cut out as well as a comic believed our big entertainment would be in Medusa
fight between Doc and Grumpy; the sequences that and Snoops trying to outsmart each other in their
carried our main story points were strengthened and attempts to get the diamond for themselves, and in the
made even more dramatic. Partly through luck, but mice trying to outsmart the crocodiles.
Instead, when we saw all the pieces put together, the
only thing anyone cared about was the predicament of
dogs in Aris-
]eon and La- the little girl. Medusa was a wonderful, flamboyant
so successful clown. Snoops a bumbling, ineffective partner, the
sequence that crocs only dim-witted louts, and the mice just cute
to be changed
little characters trying to do their best. But the girl!
'ome in again.
Your heart went out to the girl and the terrible situa¬
tion she was in. It was not the villains surrounding her
who built the anxiety, but the predicament itself. So
nderson.
we strengthened the sequences that featured her, paying
Volunteers in
special attention to anything that would create more
:rs were cut
a dedicated pathos. We staged her scenes for the most impact we
f that drilled could get, and used the sad and quiet moments featur¬
incessantly to ing her for a balance to the madcap activities of the
r helpful little
rest of the cast. We used less of Medusa than we had
the bayou.
planned, cutting out one whole sequence and trimming
others, so that she would have a brisk, crazy tempo
whenever she was on the screen. The crocs were cut
down to relatively minor parts. The climax was now
centered on the situation down in the cave, with the
heroes facing the mindless force of nature rather than
any direct confrontation with the bad guys. At the time,
it seemed we would never be able to make the film
come off with the proper balance, spirit, texture, tun,
heart, and tempo we needed, yet the public acceptance,
once the film was released, proves that it was worth
every headache and extra dollar spent.
Some directors stubbornly hold onto their beliefs of
what the picture is saying and cannot detach them¬ retorted, “On every picture, you’re in a learning pro¬
selves enough to see what they actually have up there cess! It’s not so much an application'of professional
on the screen. Woolie Reitherman has an amazing knowledge as constantly learning!” He went on to
ability, as a director, to pull himself back and view the say, “It is always new, or it had better be. On each
product impartially. He readily admits the weaknesses film, you start from scratch, make the mistakes, pick
and the strengths of what he sees just as if he had yourself up time and time again, yet never give up.
nothing to do with the film up to that point. As he You must keep your belief in the picture and your faith
commented with a sigh, “You’ve got to find what’s in yourself. For a picture to end up good, it must be
working—not what you thought would work, and not treated like it was the very first one you ever made.”
what’s in your heart, but what’s up on the screen!’’ Animating at Disney’s was exciting, but it was also
Among the things up on that screen that are working extremely difficult. We were under great pressure and
might be an incidental character who, because of an had tight restrictions on time and money, although
unusual voice or special animation or even sound seldom were they both imposed at the same time. If an
effects, is starting to click with the audience. The farm animator was doing excellent work, he was told not to
dogs, Napoleon and Lafayette, in Aristocats and little worry about the budget, but “could he work overtime
Evinrude in The Rescuers are examples. We always to get more of that kind of footage in the picture?”
tried to build on the scenes with such characters and The demand for sheer perfection in execution, along
even considered bringing them back into the picture in with the constant search for top entertainment values,
another sequence. Often we found that some clumsy creates far greater pressure than the requirement to
story point could be told in a fresh and interesting way complete a job by a certain deadline.
simply by telling it through this new personality. When an outstanding scene of animation was done,
Our best advice, at this point, is to develop and everyone somehow expected the animator to do that
strengthen what is good; edit out and shift emphasis on well from then on, and even thought, hopefully, that
what is not coming off; stay away from the common¬ he would continue to improve, as well. A few weak
place and the hackneyed; constantly search for new scenes in a row and the animator could be considered
things the audience has never seen before—but tell it to be “in a slump” or, worse, “slipping”! There was
all with the same old values and fundamentals of com¬ a cliched remark in Hollywood during the thirties about
munication. actors and directors: “You’re only as good as your last
No one can say that any one of these steps in our picture.” One of the top animators at that time adapted
way of making a film is more important than any it to animation, claiming, “You’re only as good as
other. They are all needed. The two most important your last scene!” It was a joke with an uncomfortable
procedures are certainly (1) to involve the whole staff twinge of truth in it, and we all felt a compulsion to do
in the production, and (2) to keep the picture growing our best constantly and try to keep moving that stan¬
and improving, constantly, right up to the moment of dard ever higher.
release. Many ideas that sounded great in those story Munro Leaf, who has written considerable fantasy
meetings become sodden and lifeless when seen on and magic himself, wrote these words after he had
the screen in relation to the rest of the business, and seen Snow White. “If you come right down to it, there
the sooner these elements can be discovered the sooner isn’t a live thing in the picture. Technicians can tell
they can be corrected. Many other story ideas that you how it is all done with ink, paint, photographs
were only “touches” will come to life in animation hooked one on to another and garnished up with sound
with so much entertainment that it is foolish not to get effects. I’d hate to call a technician a liar, but some¬
the full value from them, even if it means adding body is going to have a tough time telling me that
considerable footage. good, beautiful Snow White, her prince, the wicked
Someone outside the studio once stated that it prob¬ queen (who is really wicked when she settled down to
ably was easy for us to make a film now that we had it), and all seven dwarfs, and the hundreds of birds
done so many; we must have found the formula. Woolie and animals came out of any ink or paint pots.”10
Seven Steps in Animating a Scene
When you picked up the scene from the director you 2. Thumbnails
were given the story sketch, the layout, the exposure Work out your ideas in small size before making a
sheet, the sound, and a full description of the action. big, complicated drawing. First, you will test:
Now, what do you do?
A. THE STAGING
1. Think Example 1
Why is this scene in the picture? What is the
entertainment potential in the business? What
artist Marc Davis—Cinderella.
should I have the character do? How can I best
Cinderella is awakened in the morning by a friendly bird.
show it? “Don’t start animating before the idea This is the introduction of the heroine, and it is important
is worked out. Know exactly what you are going to show what kind of girl she is. She must be appealing, not
to do before you start.’’ merely pretty.
 B. THE CUTTING AND CONTINUITY
Be familiar with [he whole sequence so you will
know just how your scene fits in. With the director
triple 2 and the layout men:
1. Plan carefully which character you will have
57 Frank Thomas-—Robin Hood your camera on to get the most entertainment.
mbnails research attitudes for Robin flood when dis- 2. Plan when to use a two-shott a long shot* or a
isdasa stark competing in dir tournament of the Golden close-up.
rw,
3. Look for opportunities to get depth and perspec¬
tive and avoid too many scenes in a row that are
flat-on. artist: Oliie Johnston—
Robin Hood.
Try to change angle when it is possible or logi¬
cal, bin do not do anything to confuse the view¬ Robin Hood, disguisedasa
gypsy fortune-teiier, is try¬
ers.
ing ro capture Prince
Do not pick an angle that is tough to draw just to Johns interest. Littlejohn,
he doing something different; it will take longer behind the curtains, puts
to animate and will not be as effective. Choose fireflies into a glass con¬
tainer to make a Rowing,
the angle that is most helpful for your business. mystical crystal bail from
Example: the spirit world.

^ V? vo

Jir-w

t I M c f1' J rn 5^ 1
L lit
-J-v V j

. ^
• - V i

- d; ■ ■M r
^ \ \ < "' \ .

=• < Av u yyte
T 1 ^ « -Ft. I & i -
3. Mechanics of Presentation ]t^(To/££M (M flETOffiEffig

With a rough continuity and scene cutting estab¬ mm# f&mt o** i * 3
lished, the individual pictures should be checked
and developed, A VUlA<irrr t*/0 Mu
Utct THrr — 7fe: Mpf b
JVZf /H4iwp JfVr
PERSPECTIVE
tfJ ptAtf, Ai VftUCP
Be sure to match the perspectives of the layout, AffOVf , tM5r 1, H
II the feel do not in on the background, how HALF tifA? tffTVJfK) J J ^

can you show how much they lift up?

z tS Afew fritrwii
W SMFf ffAif kMy fUTt*(W

Examples: / i it . *vTm <--* in*

Mrt fafftf Ffttc. ffict'^'C
Aw rn* Atuc jf rr
c*wff ejv

If you draw two or more characters in a scene,

do careful key drawings for size relationship and
staging. Have good eye contact if characters are
looking at each other!
B. SCALE
Check all layouts for the scale you need in a
picture. Examine your sequence for "'pictorial"
shots that will remind you of the si/e of the
characters you are animating. The scale of (he
characters to the things around them, and to
each other, is an important pan of making them
believable, as well as giving them charm and
appeal.

Examples:

4. Solve Special Drawing

Problems
Re sure you can communicate your idea and not
be stopped by insurmountable drawing problems.
Work them out in thumbnails or full size, hut do
not proceed until they are solved.

artist Ward Kimball—Cinderella. 7

Long diagonal pan accentuates the scale.

artist- Olde Johnston-

Robin Hood,
■‘T
i
i
Page of drawings to j
i the best way to show R(
1
Hoad as u gypsy peei
over the edge of a cr\
ball.

Mill
ARTIST;

The Sword

mtisi Gnstaf Tenggren— Pinocchiu.

 5. Double Check Your Ideas
Once you have your ideas dearly defined, check “Don’t accept your drawings loo quickly; In
your layout to be sure it will work as planned. them out on someone else,"
Does it allow enough space for the actions you
are considering? Example:

Snow While
t icn of Dopey-
show height,
ihadowr and

6. Blow Up Drawings Full Size

Individual sketches do not always relate to each
other on the pegs ihe way you thought they would.
Rough out all the key positions of the scene, based
on your thumbnails and research drawings.

Examples:

Thomas—

ohnston—
.motion.

'h this much

tent a specia l
(he activity
the thumb*
tained within
he field hot-
7. Put the “Juice" in it. The scene is a dose-up of Captain Hook tel ling his
With all the sieging problems solved, the animator valet in the next room of his plan to trick Tinker
can now concentrate on individual actions, timing, Bell into revealing the location of Peter Pan's
expressions, and making the drawings that will hiding place. During his dialogue, he is putting
give life to ihe action, on his finest clothes, down to a gold-plated hook,

These are
hi awn up fft
that detern
perspective,.
meat in the
are twenty-e
tween drawi

Within that a
ingi are ma
the hook w
place. Thm
called “e.
"keysThe
trait the tim
on the draw
position of,
in relation fi

The breakdi
the main it
max contain
ing problem

The itibetw
remaining
will cotnple
In this type ■
sophisticate
are no me•
rwpenf. Eat
to be cflid
phase in the
The cartoon
he alive on
io. How to Get It on the Screen

"Ifs possible to do darn near anything if we figure out certain definite things, * ■ -
We condo anything we think of with thud' P^ney

Shortly after The Rescuers: was released in 1977, a characters that were real, whether they were dwarfs
friend remarked, "I love those characters! I think they living in a land of magic* or a wooden puppet being

are probably the greatest Disney has ever done/ chased by a monstrous whale* or tiny fairies spreading
Undeniably the animation of the characters is what drops of dew at night. In his imagination it was all
attracts an audience* but many other elements play a coining to life—mythical, but believable. This was

vital role in a successful picture: the colors* the beauty* not a dull, humdrum type of reality hut one that sprang

the visual effects, the locales* and the music. The from dreams: a land where one could led at home, yet
creation of our fantasy worlds took as much dedication where everything was fresh and new and different, lu

and knowledge in the other departments as it did in the achieve this on the screen* great attention has to be

animation, and it occupied much of Walt's interest as given to the locales—the si/,e of the furniture, I he
props, the trees* the animals, the shadows they cast*
well.
When he sal in those first meetings looking at the the air they breathed* the clouds that floated over them,
glorious color sketches from the stylist or the inspira¬ the rain—it all had to be right, just what you would
tional artist, an image was forming in his mind, a total find in such a place.
concept of what this picture could become—how all The inspirational sketches often had shown much of

the parts would fit together* how it would look, how it this, but they were only a handful of still drawings,
would sound, and how it would make people feel. It usually done in a medium unsuiied to production work.
was a slowly developing concept* but all the parts One question always had to be laced, “How do you

were closely related right from the start. gel it on the screen? ' This major question broke down
He began to see a place that was real, inhabited by into a myriad of little ones: how can we gel that soft

7>

. -v ■
f

••^y i b
I

<] Pinocchio—water action

ikttitd in the Effects De¬
partment.
 n

'V
* >
J't*

c K r, ''

*
JS % shadows were shown on the walls, adding to the spooky
effect, but Walt saw more than that When the dwarfs
V * ' were grouped together there was not a flat row of
seven cartoon characters* ii was more of a painting,
*m with the figures in the foreground in darker colors, |
\
giving interest and definition to the group, lie wondered
'\
if his staff could do something tike that. He wondered
if the men would get fresh ideas on lighting in general
il they actually could sec a replica of (he dwarfs' home,
fate Albert Hurter, the sketch artist whose imaginative
?rtge V drawings inspired the style and appearance of many
>nlty Silty Symphonies, had earlier been assigned the job of
Gri-
drawing at! the nooks anti crannies of (his special house.
! the
n of His Swiss heritage and keen powers of observation
torts made him ideally suited for capturing (he storybook
sked charm of a cottage that dwarfs might have buiti, and
hie.
now he had so many drawings of the stairs, the beds,
the windows, the fireplace, and even the kitchen sink,
"FIGARO that the whole structure almost could he visualised.
POS E 5
Walt said. **Someone could probably build a mode!
of that house just from these draw ings, Y’know. licit
model we had of the old mill was a big help to every¬
body in visualising that picture, and in planning I be
scenes and camera angles. Let's get Ken Anderson in
here. Ken already had been transferred from anima¬
tion to layout because of his architectural knowledge,
and now his formal (raining would be put to fun ho
use. Wall asked him to build the model on a stale of
one inch to the foot, interpreting Albert's inspiring
sketches into real shapes and distances. With Wall?
enthusiasm and curiosity clearing the way. the dwarfs
cottage soon emerged as a reality, complete with fur¬
niture and props.
Everyone crowded around to see how it looked all

edge?; how can I hat brilliance of color be attained?;

how can we get that elusive feeling of glowing light
everywhere?; how can that overall effect be captured
in our crude medium?
While the background man thought mainly of color
and the layout man of drawing, Walt was always think¬
aw- ing of a different approach that might open up some¬
it a
i SO
thing entirely new. At the start of Snow White, he
add studied the first drawings of the dwarfs searching
ent. through their house for the unknown intruder. threat
together, fascinated by the relationships that were now The work of the layout men reflected this stimulation
so evident. A few excited moments later. Wall had in everything from the design of the specific scenes to
another idea. Why not take Margie Bell (who hud the presentation of the whole sequence. More effec¬
been hired to do the live action of Snow White herself) tive camera angles, interesting groupings of the char¬
and shoot film of her on the stage, pretending to come acters, use of perspective to give dimension, types of
through a door entering the room, looking about in scenes to build the mood—all were handled so skillfully
wonder, seeing a smalt chair and running over to sit on that the spectators neither noticed nor wondered. They
if.' This could all be done with the measurements of were completely absorbed in what was happening on
the model of the cottage blown up to full size. Then on the screen.
another reef of film, we could shoot the model bouse,
matching the same camera moves—only this time in t

miniature measurements. This film would be printed

nit washoff relief eels (a newly discovered photographic
process for printing directly onto the cels) and later
combined with the film of the girl. If the distances
were measured accurately, it would appear that Margie
inside [he dwarfs1 house!
It nearly worked. Forty years later, TV cameras
using video (ape were regularly combining the action
uf full-size actors on one camera with a miniature set
on another, hut in 1935 there were too many problems
for the idea to be practical. For one tiling, the cels
were nitrate and the developing chemicals caused an W
unpredictable amount of shrinkage on each picture,
With no consistency from one to the next, the qualify
of the whole process was in constant jeopardy. Wall
continued to search for a way to make backgrounds
three dimensional, even having them animated in
changing perspective on several pictures. While this artist: Albert Harter—
gave .startling effects for individual scenes, it further Snow While.
separated the flat characters on the cels from the Hurter's drawings of the
rounded forms in the background by contrasting the dwarfs cottage were so
thorough in concept and
hoi different techniques.
detail that a model of the
I he model of the cottage was far from wasted since whole building hyjj con¬
n was used extensively by both the story sketch men st me ted just from his
mid the layout men to determine what they should sketches,

show tthen presenting any piece of business, The story

people had [he job of making the house seem real
through the activities going on, and the layout and
background personnel had the responsibility of mak-
in% I'hose suggestions work in a practical way. They
cut out little figures that would throw shadows on the
'vails, then shifted the lights for a variety of effects;
created pictures that had a new.- authority, for this
vos no longer a make-believe house—it was there
frkfz/
before them in a very real state.
Four Styles of Background Painting
painter. Sam Arm
Snow While.
3. For Snow W|
delicate watered
niques popular in
lustrations of fa r
Shadows. Unis, aa
colors were need*
by scene, to help i
acters fit into thi.

painter; Eyvind F.i

Sleeping Beauty.

4 ForS, leeping B
tricate design ana
of close values in
controlled gradai
dmanly, a charac
be completely l<
much activity inf
colors, but the ce
Rose placed at
shows that these c.
stood out beam:
bold simplicity
design.
 Backgrounds characters will be working, He is told also to keep the
handling very simple on the left side because a hor«
The background painters were experimenting, too, will be standing there, not moving much but still occu¬
Irving to capture in water color or tempera1 (mediums pying the space. And the grass at the bottom cannot be
easy to change if necessary) the same effect the stylist harsh or realistic with individual blades, because that
had achieved with chalk or inks or some special build will draw attention away from the actors: nor can (lie
up of paints. Taking the layout suggestions as scenes grass be too soft and fuzzy cither, or it will appear that
I hat actually would be in the picture, and surrounding the characters are standing in a cloud. There must be a
himself with the original sketches that Walt had liked, solid plane for their feet to match, and it must he green
the background painter searched for ways to duplicate because it is grass, but it cannot look like grass ur be a
an elusive effect. major part of the design. The areas where the painter
f hese painters are not the same as easel painters, can show the leaves and branches and the beauty of
even though they share many of the same talents. The this romantic spot are along the lop. down (he right
background painter must know color very well, pos¬ side, and in a tiny patch over on the left beneath ik
sess a good sense of design, know how to pull a horse’s belly. It is not easy.
picture together, and l>c able to handle his medium If the background has been designed around the
extremely well. He may even have some reputation as characters and the action in the first place, this may he
a painter of landscapes or abstractions, but here at the all that is needed to give a great effect. Subtle tones j
studio he has a very special assignment, He must stage (close in value) behind (he figures and along the “path
(he character and support the action. That comes before of action" can suggest much while actually showing
esitib-
ire the anything else. His work may be dramatic, startling, very little. This is possible to do, hut a definite chal¬
ruinate powerful, or thrilling, but it must still be only a back¬ lenge.
ce the ground for the action. Another way to keep the character completely clear
ire itu-
There should be nothing behind the animated fig¬ at all times is to hold down all the elements in ifo:
ictian.
' make ures that distracts in any way. Too much detail, busy background so that they frame the actor as if he were
back- shapes, eye-catching forms are all confusing; too much spotlighted, or working in a "pool of light," This will
nittary color, too much dark and light pattern, colors that
estub- not give the excitement found in a strong design, but it
conflict with the ligures are all disturbing. The back¬ will insure that the animation reads well throughout !
f treai-
iusing. ground artist is asked to pa ini a woodland glade, but the scene.
not to have any trees or bushes in (he middle where the The background man is particularly frustrated by ,
dose-ups. There may be a long shot with a busy brick and the painter will ruin the scene if he tries. A plain
veil] behind the figures or a shelf full of toys, and on colored card would be far belter, or just the faintest
the next scene a dose-up of ihe character. The painter suggestion of the things seen in the long shot. Actual-
thinks. "Ah! Now I can show all the texture and the ly, a live-action camera moving in this way probably
bumps and scratches on these objects/' There is really would have the background oul of focus, and that
iiu need to keep the same background on such a cu(. would he ihc easiest solution.
 A very effective scene in The Jungle Book showed
td Anthony—
the panther silting on a tree limb with only the lumi¬
nous mist of the tropical night behind him. In the fore¬
the background
ground was a small duster of leaves and a flower
pi the busy forest
rfr conflicting vis- drawn very crisply, but with just enough individuality
she animals by, to give the scene realism, beauty, and character. It
ing his painting look years of experience to know that this would be
e overall mood
best, but, literally, only minutes lo paint.
n show blades of
:ond, keeping a Painting backgrounds is a challenging and compli¬
action p clear of cated assignment, but one that offers vast opportuni¬
i drawing; and, ties lo the artist. Successfully done, the backgrounds
ling a feeling of
re she characters contribute much to the audience’s enjoyment and, like
king. music, can create a depth of feeling in the mood and
enhance the dramatic quality of the whole film. Walt
felt this was so important that he asked the background
men to try several different paintings of (he key scenes
with a variety of colors and techniques to stimulate
their imaginations and help them find the best approach.
These were shot in color and judged from the film so
the artist could find the most successful handling before
facing the restrictions of supporting the animation.
The background painter works closely with the layout

mely simple back-

Thc Jungle Book
ARTtST. Al Dempster— The Jungle Book.
rneutfJi detail to
the idea of the A background is painted three different ways as the am
shorn conflicting searches for the most effective appearance for the desolate
t the character or black pool where the young Mowgli, friendless andmistai-
ble, will meet the vultures.
mun, from (he early experiments that develop the color
key and style to the design of the effects animation
ihdt will surround the characters with all manner of
natural farces- But adapting the style and the color on
a(]al piece of paper is only part of the problem. There
h slit! the matter of getting it to look right in the
finished film on the screen.

Effects Department

Tk effects animator is a special kind of artist: he has a

curiosity about the way things work* a fed for the
mechanical, and usually sees great beauty in the pat¬
terns of nature. Some effects animators have been fas¬
cinated with pure realism and have tried doggedly to
duplicate it, while others have created spirit in the
tnovemem ot water and lava, drama in tires and storms,
and astonishing loveliness in the handling of falling
leaves and snow. During the making of Smyw White,
ihe Effects Animation Department grew to a total of
filly-six men and women, many proficient in special
techniquesh all amazingly patient as they drew endless
tiny shapes.
Originally, character animators had done all of the
effects in their own scenes: rain* smoke* shadows*
>***■ clouds, dust* speed lines—even throbbing lines
to represent pain and question marks to show confu-
Muii Rut Walt felt that these all lacked style and asked
his men to be more observant and to draw more accu¬
rately. They observed, and as soon as someone noted
ihat Ik image of a real object moving fast is blurred
in 111m, every animator tried to find his own way of
Jraumg a htumed image in cartoon terms. In attempting
10 outdo each other* these animators created shapes
ifjt became designs in themselves* dom in aline; the
scenes, and the inkers were puzzled as to whether
:fie?e concoctions should be traced in ink, painted on
top of the cel, drybmshed, or done in different colors.
A favorite device for portraying an arm or a leg
aiming very fast was to draw a series of after images
following along. Unfortunately, this always looked
more like spaghetti trailing the limb than a true blurred
‘iiiEte. Carlelon (Jack) Boyd* who later became head
01 the Effects Department, still laughs about those
4-'- "Four feel of wet spaghetti! It looked awful—but
 Then with a sigh, “Now I shudder to think of that
stuff/'
Shadows were another problem. These had been
done in a very simple way from the earliest daw
because they anchored the figure to the ground. With¬
out some kind of contact with the background, the
characters seemed to float around, walking on air, no
matter how much weight had been animated into thru
movements. Just a circular shape painted around (heir
feet in an unobtrusive grey defined where (hey werr-
standing, and as they walked about or jumped iioun
tinned to show just where they were. Being opaque t!
covered anything on the background that it pasm
over, unless it had been carefully animated to lit the
shape it encountered. Too often an easier solution
to ask the background man simply to paint out the
offending object and leave a barren path in its place.
As the qualify of the pictures approached that of (he
better book illustrations, this crude shadow was re¬
placed by one done with a transparent paint that gave *
much more realistic appearance. Since this darkened
the background without obliterating any of the detail
the spectator could now- see every rock and pebbfc
right through the shadow, and (he background pwm
became much happier. Unfortunately (his wonder pain
dried very quickly, leaving streaks and puddles Ik"
varied in density from cel to cel. causing (he shafoi
to look quite agitated on the screen as it wiggled and
we were trying to find out how to do it. It took a lot of jittered.
mistakes before you found out what you could do.” When the paint was very cold it was sornewk
This type of persona! expression came to an abrupt easier to use, and if it were con lined to small areas flu,
end when Walt eventually set up the Effects Depart- the “girls” could paint quickly and deftly, a satb.be-
incitl to standardize the procedures, unify the appear¬ tory result could be obtained. So the painters workd
close to the refrigerator and moved fast, but the shadow
ance, and control the quality.
With new importance given to what always had was still only one shade and there was no contrrf
been secondary animation, the men selected for the possible if a slight variation was desired. More lim
new department seldom could hold themselves down that, it was impossible to paint large areas on the ce

to a supportive role, Even though they were aware that and keep any consistency in (he quality.
their work should be subordinate to the main action ot A far better result came from painting (he sha
the scene, the enthusiasm that led to the experimenting completely black, but photographing it at only
also swept away care and much of their judgment. exposure. This way, there was complete control. Tk

Again, it was Jack Boyd who shook his head anti shadow would be light when it was shot at thirty ptf
laughed as he thought back on a scene he had once cent exposure or very dark when shot at seventy
done. ‘T had just discovered water1.1 was a star! You cent, and between the two almost any shade could k
guys did a wonderful job on the character animation, obtained, enriching the appearance of the scene ,

and 1 came along with a splash and destroyed you!" both design and color, since the shadow darkened ih
twlirif color without disturbing the harmony of the made to leave off the shadows and paint the walls dark
reljltt^nshsps and wet instead. The shoes and feet of the characters
This was ms[ what vs as needed !o make the group of were painted dark also, so they would be almost a part
duds match the quality of (hose first sketches. A of the background, giving the feeling that they were
mask over part of the scene changed the values on the already in shadow
lieurts whenever they entered that area, without re¬ Through the early thirties, the entire Effects De¬
quiring aw new painting, or. especially, a whole new partment consisted of only two men- Ugo D'Orsi. a
of colors Now, the dark and tight patterns of the straightforward, stubborn, and dedicated Italian, and
scenes could he created in a .very simple way. but in a Cy Young, a quiet and sensitive but equally stubborn
u.i\ thdt added depth and luminosity to an amazing Chinese, who loved to play the bass fiddle as a hobby.
draw. The shadows that the dwarfs cast on the walls Both spoke with such accents that most of the staff had
containedndl. subtle colors that were not on anyone's difficulty understanding what they were saying, and
palette, adding to the enchanted feeling of the whole communication between the two was almost impossi¬
.orace At the same time, controlling the shades on ble. especially when tempers flared. Since they did
ihc figures in the group prevented them from looking most of the careful work themselves, they needed only
like a police lineup. a single assistant between them, and a major part of
TVse double-exposed shadows required chat the his job was to act as interpreter, diplomatic emissary,
scene he photographed twice, once with them and once and peacemaker Still, few animators have surpassed
wjttiftji. which was not only a headache for the cam- the delightful results that these two men slowly and
c'jnun hut doubled the expense of his efforts Not too delicately achieved w ith their innate sense of design in
midi Inter he would be shooting scenes ten and twelve motion.
lime? for special effects, so the problems of a second Who can ever forget the lovely white blossom-
pass became minimal. However, in the lean years, the ballerina in Faniasio floating gracefully to a caressing
double-exposed shadows were among the first things landing on the surface of the water, only to be reborn
in be eliminated in the drive to cut expenses. and rise up inverted, swirling and spinning as she
Mure dramatic background painting w ith very care- danced off with her colorful companions? That was
III matching to the character achieved many of the Cy Young at his best Rarely could others create such
Mine results, or created a surface so dark or textured poetry and sensuality in a mere blossom's falling into
it would not show a shadow In The Rest iters, the a pond.
nyuence of the mice and the girl Jew n m the cave LI go showed more intensity and force in his work,
»nh only a tiny lantern would have been an ideal but was equally sensitive to the total design. Typical
pta for shadows to augment the suspense and the of his draw ings were the crashing waves that heeded
drama of the situation, but since the sequence was Mickey’s commands in the dream sequence of "The
frightening enough the way it was the decision was Sorcerer's Apprentice '' The director of the picture
commented on "the amazing patience and tenacity
iwmator Cy Young— |Ligo| displayed in doing the filigree waves and foam
' ‘Nutcracker Stuff/' . , he pioneered' those . . . patterns practically out
Fantasia
of his imagination, long before the help of research
Only tin extremely sensitive photography.
uriisf could hove animated
Both Cy and Ugo were determined to get realism
this sensuous, while blos¬
som ihoi become a twirling into their work and studied constantly to increase their
s-\ boiler inti. understanding. One day they were discussing a scene
involving a witch's kettle bubbling over a fire. As
rgo D' Orsl— drawn on the layout it was an old pot, rusty and par¬ Department in a steady stream, and most of then wtit
s Apprentice, tially covered with soot from years of cooking. Cy felt full of ideas. One of these was Josh Meador* a rc*
chat light from the flames would be reflected evenly comer with an unusual combination of talents. Youtt
item turns a te- over the whole pot; Ugo claimed that the light would and individualistic, Josh was an excellent drafisnur.
zcis" scene of
be only on the portions not covered by the soot, since painter, designer, and he possessed great technical rtH
\g h'^vf into a
work of art. soot has no reflective powrer. Bach man was adamant, ity as well. By the end of Pinocchio in 193*1. lie tad
and. since there was only one way of proving who was taken over the department, and for Fantasia, oofyl
right* a fire was built in an empty film can in the year later, he had well over a hundred men and vtnii
middle of the floor, with the shade from a goose-neck turning out the most impressive effects animationevd
lamp inverted over it as the pot. Soon the flames were seen. One of them said, “Josh was continually shoot*
dancing merrily. live action and experimenting with the stuff—w*r
While everyone else was screaming* “Pul that fire and smoke and all those things. He was really™
out!” the discussion grew' into an argument. The whole thorough with his research work. He didn't just a
surface of (he lampshade was indeed bathed in glowing down and animate water, he went out and shot m
light as the flames enveloped it. hut there was no soot water, then took it home and studied it. In those
on it—as yet. People were running about, and excited days you did that—you went home and praciid
protests were now coming from far down the hall, but drawing,”5
still the two animators fanned the flames earnestly— Some things just could not be drawn in pencil lira
their faces right down at the floor—and studied the wind* fog, drizzling mist, a thick cloud of dust* ij
curved bottom of the shade. almost all kinds of snow, Blaine Gibson, animator an!
The Linoleum had begun to curl on the floor before a sculptor, who was in the Effects Department for ih*
brigade of Dixie cups could be organized to douse the ly ten years said, “It is quite a challenge to do gir¬
flames and send the frustrated effects animators hack dling like that; when you put a line aroundsomdW
to their desks—with the point still unproved. Maybe il even though you only give it a partial exposure, :i:
was inconsequential anyway and hardly worth consid¬ away it's something that's different than what it is!"
ering, but that intensity of feeling and the driving desire That fact did not stop Josh.
for knowledge were typical of their approach to assign¬ The next storm, he was out with his cameras shorty
ments. the marvels of nature against a black background,«
By 1935, new men were coming into the Effects before that winter was over he had a whole library tf
 Three leader a of the Effects
ldepartment study bubbling
mud in a Studio vat. From
(eft. Jack Boyd, Josh
Meador, and Dan Mae-
ManuSr

animator Josh Meador—Alice in Wonderland,

Inspirational sketches often The story sketch of Alice floating in the bottle
set the design for animat¬ shows a very simple design for the water effect,
ing water. It hyjs up to the hut in the actual scene this avis not enough. The
effects animators to deter¬ sea wkjj so vast, it wits impossible to tell how
mine how to handle these large Alice was or how far uvray she might he.
ingredients to get the de¬ The addition of large bubbles gave the needed
a I sketch -' ‘Son'ever' s Appren nee,' " Fanta si a. sired effect. scale to keep her very small.
 &
V
■t-
L

animator: Dan MacManus

'Bambi, k
*
i
Drawings for the splash of
a single raindrop in the i
passing storm in Bambi re¬
flect study and observation
by the effects animator.

animator, Paul Kossoff—

Rite of Spring.'* Fantasia

Imagination in both design

and movement H-fts needed
for this scene of lam flow¬
ing down the primordial
landscape.

Afrrtsr: Jules Engel—■ animator Ed Aardul—

"Rite of Spring,'" Fantasia RiteojSpring.'J Fantasia.
The “Rite of Spring" in 1 here vtra * no way to study
Fantasia culled for mist, volcanic eruptions in pre¬
coin, smoke, wind, water, historic times, but this out¬
failing rocks, fire, and flow- standing scene was created
ing lava, Just four years from inspirational sketches
earlier, none of these ef¬ and suggestions of raw
fects could have been uni- po wer i n $ tra vinsky' s
muted convincingly. music.

256
rainis&lt rain, hard rain, heavy rain, blowing rain
chased the witch up the rocks; and after she had fallen, Excellentefl
skirling rain, drizzling rain? These were printed ontt the steady, drenching, heavy ram that seemed to wash cf w an
special papers, so they could be combined with tht the evil memories away. A few years later, a whole ^frcenefi
aniinaled rain as needed to gel any effect wanted. Jos I
sequence ot d leets animation depicting a summer storm fhc relative
had been (old, "When I look ai rain, ! don't see a lo was a b igh - poi nt of erne rt a i nme nt i n Bamhi, The effects thing from w,
'■:Thd lines around every drop, Sometimes I don' had become an integral part of the film, contributing t0 Ii!!yfigu
M see the drops, just streaks of light, and littl< drama and excitement and mood, as well as the vital a s!at
spladiei on the ground/’ I he animator's drawings b
e lenient of maki ng every thing so belie vable. * wwgiM
tberuselves could not give this illusion, but by comb in- Of all the natural elements that had to be drawn in
die them with photography of real rain, it was possible pencil lines without shading, water was the most dif¬
even to capture the mood of the rain, There was dreary, ficult. The combination of transparency, elasticity,
weeping rain for the sad set]uenee in Snow White when weight, mobility, and consistency, together with the
krfriends wept at her death; there was the fury of driv¬ many moods associated with bodies of water, made it
ing, stormy, exc^ rain shortly before, as the dwarfs impossible to handle realistically. It had to be repre-
sented in a design She audience could accept without audience remembered impressive scenes of good wain
question, As one animator said, 11 You had to draw animation longer than any other effect.
some kind of effect that would give the impression of It was not only a matter of representing nature-
water without costing a fortune,” yet what could any¬ each film had its own design concept, and the drafting
one draw in line that would look like water? “You of the effects had to comply. Someone would try man;,
weren't just drawing the crest of a wave, you were different ways of depicting whatever it might be-
moving the highlights and shadows and all the color water, smoke, frost, or sheen—searching for a w ay of
indications that were so important to the animation.”'1 drawing that was compatible with the style hut still
If it was a large body of water, the animator had to allowed the necessity freedom of movement. He would
think in terms of the mass, the perspective, the depth, try complicated groupings of colors and patches, high¬
the movement of it. all going hack into space. And he lights and sparkles, drybrush, airbrush, any effect !tai
had to be careful that he did not have everything mov¬ pietorisilly would be convincing and exciting. Duiing
ing the same amount and at the same speed, which the period thsil Josh Meador was in charge of the
would give a type of rhythm to the action that would department, he was a source of many suggestion^,
kill any feeling of realism, Fd Aardal w as one of those since he had such a fed for design and form and color
who had a special affinity lor large water action, which The experimental sketches were shown to the direc¬
he attributed to his year spent on a Fishing boat off tor and his crew, and decisions were made as towfikli
Alaska, “When you lived alt that stuff,” he com¬ design was best for this particular job. Often a few
mented, “you kind of memorize it—you got the fee! color tests were shot to be sure of the results bdree
of it.” embarking on the expense of animating an elaborate
One animator admitted that he had tried to fake his concoction. Josh would break down the elements of
handling of the water in a scene instead of taking the his sketch, figuring what the animators would do. wha!
time and effort to study real water and make it right. should be added by the inkers and painters, and v. v
The work was criticized immediately, and a more expe¬ would be done by the cameraman with exposures ami
rienced man was called in to take it over. Nothing but special lenses. It was often difficult for the animator to
the highest quality was accepted, and although water visualize how his limited portion could possibly pro¬
was the most difficult effect to do. and the most ex [Ten¬ duce the exciting drama that had been described
sive, most of the men in the department felt that the Wall had set the standard, and that way oOdouic
things persists to this day: it must be the very best yd
can do; and, if properly prodded, you can always do
far better than you think you can. During (be min;
of Pinocchio. the animators were experimenting with
various ways of handling bubbles, trying to get some¬
thing on the screen that looked wet and shiny. 'Riey
carefully animated the circular forms, keeping [tea
rubbery and fragile, with changing shapes, hut most of
their effort went into the choice of inks, of colors
highlights, and the techniques that would make these
circles look like real bubbles. The animators finally .
shot an assortment of experiments in color and nr
them for Wall so he could choose what he wanted. He
surprised them all by commenting not on the linns and
colors, but the quality of the animation. ”E like to
—the others look too heavy. The bubbles shouldb£
full of air.” Who else would even notice if an ani¬
mated bubble looked heavy?
 animator Norm Ferguson
—A] pine Climbers r

Pluto has been rescued

from a snowdrift by a St,
Bernard with a brandy
cask, Warmed through,
Pluto's run is now inter¬
rupted by a violent hiccup.
STARTS ON PAGE 299

The story sketch below of

the threatening Tyranno¬
saurus Rex in ' Rite of
Spring” suggests forked
lightning as a backdrop.
%

ANIMATOR:
Carle ton (Jack} Boyd—
''Rite of Spring," ' Fantasia

Drawings from the scene

as animated show how the
spectacular flashing effect
HYj\r achieved. Alternate
frames of black and white
double-exposed over the
drawings gave the shim¬
mering t dazzling look of
real lightning.
Special Effects
Pinocchio is swimming madly to escape the powerful
charge of Monstro the whale. He is surrounded b\ fish,
all dashing for their lives. He finally breaks to (l*
surface and apparent freedom, hut the monstrous teen
rises from the depths, and his huge jaws close withi
heavy sound on all who had tried to elude him. It is;
exciting moment—the audience should feel the ten¬
sion, the suspense, the desperation of the chaiacieu
trying to escape.
The animation of Pinocchio is good and doesexaeth
what is needed for those scenes. The fish ;ire ^ll
animated and the effects of bubbles and streaks ant
speed lines all give the impression of great elfon and
speed. But something more is needed. It does not to*
that rich look of a first-class illustration. Is there m
way to gel a watery effect here? After all. Pinocchio i
 way down [here and ought to look different. And what
about Monstro? How can we make him look huge? Of
course we need the other characters to be much smaller
to give the proper scale, but how about some shading
on the whale? One continuous tone over his entire
hulk will never give the illusion of volume. What will
take it out of the thin, Hal world of the tine drawing,
and get it into the depth and dimensions of the shaded
drawing and the painting?
To get the watery effect, a panel of glass was ground
with the same type of ripple found in low-grade win¬
dow glass. When this panel was placed over the 'cels EFFECTS ANIMATOR
under the camera and pulled slowly through the scene, George Rowley—■
the images beneath it writhed and wiggled just as Pinocchio.
objects do when reflected in a lake or especially when Small flames generally
seen under water. have a mild, undulating
pattern, hack and forth,
For the tiny figures in long shots (figures too small
combined with a slight up
to be drawn accurately or painted), washoff relief cels and down action.
could be used since this permitted normal-size charac¬
ters to he reduced to very small size, or blown up
large, as well as repositioned or even made into multi¬
ple prints.
To gel the shading on Monstro, someone devised a
“frosted’1 cel treated to create a tooth on the surface
that would take pencil, pastel, chalk or crayon, with
smear or smudge or careful shading. Once the drawing Large flames have an elab¬
■was completed in lull color—it was really more of a orate pattern of dancing
textured painting—a special procedure cleared the cel shapes, carts, parts break¬
ing ojf and carried up'Com¬
to its normal transparency with the artist's original
bined with violent activity
work ready to go under the camera. Now artists could within the shapes.
work in the colors they wanted and the shading they
needed to explore new dimensions in visual effects.
The men who solved these problems were the skilled
craftsmen of diverse backgrounds who had been thrown
together in the catchall department. Special Effects.
Walt always had been skeptical of theory and philoso¬
phy, preferring to have practical artisans around him
who could get right down to work with their hands.
For some reason, he had a distrust of engineers as men
who designed primarily for themselves without regard
tor the intended use of the product and he refused to
The magnitude of the for¬
have anyone on the staff w ith the title, “Engineer."' est fire in [iambi was con¬
There were only three categories for a technician: veyed best by moving a
camera, sound, or special effects. Bill McFadden had distortion glass over a
dramatic painting. A sepa¬
a degree in aeronautical engineering, which had noth¬
rate glass was used for re¬
ing to do with either camera or sound, so obviously he flections in the water.
•on gia sues
e a worm1
W of the
Bambi. At
miV a tight
sunset re
■/.

tplets dis-
a heavier
i. (The rip-
painted in
ceis, with
l)
tails that
so beticv- had to he in special effects * along with the iei^kJc1
vt'rf by us-
r so ' ‘blow
makers, theatrical craftsmen, painters, machinists, car¬
rings and penters v and the other individuals trained in the pro-
dd texture fession that was never mentioned: engineering. I'bc
I.
men in this conglomerate never knew what they won j
■e a rough be doing next or how it might relate cither to their
side that training or the last job they had just completed. The)
or crayon might be asked to find a way to photograph an amoe¬
\d texture,
ba, or build a whole new camera, or a piece of farm-
"cleared "
city under ture, design a building, or string beads on black threads
feels am- to represent stars in the firmament Few people at it*
vter Boyd
studio knew who these men were or what they did. k:
awing of
everyone saw that amazing scenes were appearing on
the screen. As one employee said, "You can't belies:
how many people it takes to do something like Ibis.'
Bill Garity, an expert on camera lenses, was nomi¬
nal head of the department, hut Walt worked with
each man on an individual basis, asking questions more
than assigning jobs. As one of them said, + The tan
questions Walt asked most were, ‘Can you do it? and
"What can you do here?"’ They were called into
sweathoxes and story meetings and often just satemuni
listening, getting the feel of what Walt was after. The*
lgredients of a Scene

Gtyj/Jt'/ft? wira/ Fenoccfcrcf try

to pash their raft into the
ocean when Monstro the
whale opens his month to
sneeze. The scene lasts
barely four seconds on the
screen amt shows the amaz¬
ing concept of what made
a good-looking picture for
this place in the flint. The
separate parts are;
A. Monstro's teeth and
upper jaw.
ft, Seagulls in distance.
C. Wave action on dis¬
tant ocean,
D. Water running into
mouth.
£. The raft.
F. Water splashes over
H
. ■ :..-L „Jm« Fria
HTi!- -■™ WJT
the teeth, raft, and
a™.,, - characters.
s—

tKv-.i :t
khala ahSdAJ CHI LCf- IE1 nl». !■ ■ ■ G. Finocchio and Gep-
rM*** i! kr Li Oil if wc-fiEh - MlM*-
r.-i ■■■IPi ■ lutl p-Z-aF L HL
1 PjuKEI rf-ii M If
■Frii-T Into- irfial-M.
petto pushing the raft.
} UrUAW. l*-»l Crf H 4 .
II
H. The kitten Figaro.
7 tft-

ICASU
fr-G* u. j . Cr HRit icirtt m thiii1! KMfhr Not shown; double-exposed
l»rlnr “EH.. if'T- +|l*
smoke fitted the top half of
mx.ii
pamMA I-Gfr
**-17
cr U.l.v “'■ill |pM 1 1 <hfH IH1 the scene.from the ft re that
1*5. 3 1 i ill lPirl*|ri fill l.fiht pa - L if h. ll
CUT PC-.
Pinoechio started.
tp-r %
.. The "draft" of the picture
records each scene by num¬
nhlfti'KK
TWI1- J.-A- L Ir.S-.L. Flncc-chi-i iv OippiLCfe p*afifiiiAjfi
HJJUICL W *■■*( » M41+ lima |KA*it - -*aSPi ber, description, and foot¬
■■DM K-CA Sid,, IL DfKKtl. -Ifi-d-Shl POI IT >C4fT
iSWTHJI
UrUJL.TJ.n.. .1, ,
-:+.l 1 llIKiMH PflJSftT. »EriFK?
age, as well as who ani¬
a IVK
\ -J£U| *.
iTKiMh T-«< Hf
■jG.Pi PllfrVCC hi-fi pflt 1 ll IJB 1 fi~l - -dflfvll
hfiifc a C-l-^f-l LC-1 1 1 f 11 plVr 1 14. *|AA. mated it. Sequence No.
1a S*t. ASaJua« hmLLoi (GCftHfl
■T1 ll pevm «r fv nc-sc tteth. iim.
*n#|i
HU&EL
-
YEi it «is.u 10.7 of Pinoechio shows
■iSI-i EhJcli L In fc-?ti 1 ■ -sp, wiy Inct
Scene l as 6 feet 4 frames
s ■XI. LE *-«> ■3 vuifi'k *a-m, Friikd-f. r-fiM -"filch ii wi
m\*
"lY »4l. -QrhlHl nvi: «Y._.iHEDl
UYW uC-fcte i ■ Ait run w i
and drawn by six anima¬
tors.
KAFK
XAH ii-l CjII. Dipf^itt fill mu rape. 1«ip.
■tf imp hCfi#C h-Cllhir. ami. Phllfrrf^a.1 fif
IIHIWI ^a in'B «vlli. P1 aadcp.i ■ . kmE> uh .
auclri HIM -E flGi
263
!Kfcii S "J ■■ era*P3 hd “im M

ItVT TO= Ih-1 ill

 as the pieces of an idea started to come together. Walt frame had to be a three-minute time-exposure with the
would start calling in the men who might do the work, room completely dark. With the time needed to make
earning it to a more advanced stage. "Hey. let's get all the moves and changes before the next frame cmild
Joe in here—and who’s that tittle fellow who built that be shot, the men barely could do 16 frames anhcmii
thing for us? You know , that guy from camera; get '['hat was only one foot of film, and some of the scenes
him in here. too. And see if you can get a musician, were over 20 feet tong!
too; these guys will have to work together." Camera¬ Sitting there in the dark, hour after hour, they auilt
man, carpenter, stylist, colorist, technician, artisl—= not keep from nodding, but someone in the three-man
they formed teams as needed, with no money for crew always managed to keep things going bv singing
expenses, no time to research, only their own inven¬ out the hour or the footage or the next move to be
tive minds and Walt's enthusiasm to guide them made. One of them remembered after an all-nightses¬
Once they were asked to build an arrangement that sion that he had heard. "Three o’clock," and a link
could hold separate layers of artwork at varying dis¬ later. "Four o’clock," but that the next number a is
tances from a still camera, so that the ensuing photo¬ "Six o'clock!" What had happened to five o'clock1
graph would have the appearance of depth It was built No one knew at first, but groggy confessions revealed
of wood and glue and tape—as Bill McFadden said, that all three men had fallen asleep at the same time
"You couldn't build anything without tape, y'know ." and slept for nearly two hours before some inner alarm
But it worked and Walt liked the result and suddenly awakened them.
was talking about building another one. larger and Early in this exhausting schedule the final plant
more complicated, that might be used for shooting were made for shooting the last scene in the picture It
animation. This was more of a problem and called for was the ending shot of the "Ave Maria” segmen;.
engineering knowledge, but on the records it was built which had run into several delays, putting it far down
by Special Effects! And so the first multiplane camera on the schedule There had been many suggestions for
was bom. the content of this crucial scene, ranging from stained
Four years later the men were still working with glass windows to towering cloud formations that
tape and glue, but now they were creating exquisite, symbolized inner feelings of great magnitude. But Walt
delicate scenes for the films. Fantasia was a particular decided on a long, continuous scene, nearly 220 feel in
challenge to their creative minds, with all of its unpre¬ length, that would start with an impression of the inte¬
cedented effects. To get wraiths rising from the graves rior of a targe Gothic cathedral From there, the cm
in the first scene of "Night On Bald Mountain." they era would move slowly and steadily through the dimly
devised a method of reflecting the artwork onto a piece lit interior while a shaft of light dissolved in. culling
of bent tin. much like the mirrors in a fun house. It across the image. Then a vertical shaft of light would
gave an eerie effect, but to avoid other reflections each spread as giant doors opened on a fantasy world just

THE HORIZONTAL MULTIPLANE CRANE

LIVE ACTION CREW NECESSARr

Dtajrrtim fti the Lavo4

Manual of the twro'/r j
c inner n cram denied fti-
th(‘ final \ho; in Fan lava.
■^I'J.-VlL;1 rifei;.l trt oft-
tat tu'd h\ pant nn^ I art*
. n field
! rt\rj \> f' •, on panel f (if flta
Layout limit am! mo<. ma ifte emm
t pr&ce- ■i'fhn-tilth Pit
images ntrf> :iii--.cn from the '-'At*
rippled Marui item in faniasri
far type []j Lftn'.i hcn\ thii locked «
4 CAMERA TRACK EXTENDS 15 F££T the screen p>
at dawn, giving a spiritual feeling for (he end of the from one end of the stage to the other. Set astride the
picture. camera track and the marked rail were large stands
The special effects men looked at each other. No holding panes of glass with surprisingly little color
camera they had could move that slowly and continu¬ painted on them. Most of the effect would be in the
ously—why, it would have to be 40 or 50 feet above lighting and the camera exposures. Today it would be
the drawings. Maybe the camera could move horizon¬ called a “Mickey Mouse" contrivance, but everything
tally. bat even if it were put on some kind of little seemed to work, to be sturdy, and to offer the neces¬
carnage and moved along a track + a crew could never sary control. The tape would certainly hold for one
get it in precisely the same place a second time to time through; as with most of the studio set-ups, this
make the dissolves Walt mentioned. And even if they was never expected to be used again.
were able to calibrate the camera moves some way, With barely three weeks left before the deadline and
the artwork would have to be on panes of glass at only days after those men had fallen asleep filming the
feast three or four feel wide, and mounted on some spirits rising from the ground, the crew started to shoot
kind of stand, and those stands would have to he move- this last scene. With everyone carefully checking and
able, too. If was out of the question, it could not be rechecking, each man made his moves as the lead
done. How would they ever control the light, what cameraman read from the elaborate exposure sheet
kind of mom would they get, and would it not be and the camera inched its way across the stage. The
impossible to do away with the reflections off the crew who had built the set-up stayed on to do the
glass? There was just no way that this could be done, shooting, even the carpenters. Since they knew how it
especially in (he few' remaining weeks before the dead¬ was supposed to work, it w as assumed that if anything
line for (he picture. went wrong they could fix it more quickly than anyone.
So Wall had the carpenters knock the scats out of On that crew was a young and eager Bob Broughton,
the end of the sound stage (which was at least 45 feet who would contribute his talents to the Special Effects
across), shut down the recording sessions, and he told Department for another 40 years. They shot nights and
them to go ahead! A couple of cameramen, two or they shot days, and the only time they had a break was
three carpenters, two inventors, and an artist, and the the one night of the week Walt played badminton on
project was begun. A partition was built across the end the stage from 7:00 to 10:00 in the evening.
of the sound stage, and behind it strange things began It took just over six days to shoot it all, and the men
lo appear. A special stand mounted on rubber wheels fell into bed while the film was being processed at the
was built for the camera, and on the side, pointing lab. The next day a very anxious group assembled to
rigidly to the floor, was a metal pointer. On a wooden see how this wonder of wonders looked on film. It was
rail nailed to the floor tiny numbers were marked in beautiful! There was not a jerk or wobble in the whole
black and red and blue pencil, all carefully measured thing, but there was a major difficulty, In one of those Fantasia
unfathomable vagaries of the human mind, someone noon with a good four hours to spare! It was spliced
had put the wrong lens on the camera; so in addition to onto the end of the picture and lhat is the way ii was
I he magnificent artwork, the camera had recorded the run night alter night until a new- print could be made of
stands, the track, and even the busy workers running the whole last reel.5
around during the week of shooting! Why did these men work so hard, so persistently, so
Et had to be done over. The deadline was now only eagerly? Why did any of us become so dedicated, so
days away, but [his was not the deadline for camera unquestioning, so determined? Was it just that we were
work, or for the lab. or for the answer print. This was young and that the work was exciting? Each assfjri¬
the premiere show ing of the picture m New York! No me nt seemed impossible at the start; yet a way was
picture ever had been premiered with (he last 200 feel found to do it, and to do it so well that the whole staff
missing The filming had to he perfect this time. The was awed by the results. The exhilaration of breaking
crew shot for three days and nights, stopping for a through barriers to new frontiers was more than any of
brief rest during the badminton garner—then back to us could resist.
the figures on the floor and the careful moves, All was Orville and Wilbur Wright wrote letters home front
going well, coffee was keeping the crew awake, and a Kitty Hawk that they were being eaten alive by the
quiet determination had settled over the whole process sand fleas, constantly irritated by the blowing sand
when suddenly, late in the evening of that third day, that got into everything, half-frozen every night by die
there wras an earthquake! Not a big, shattering one, hut cold w inds, straining to read their diagrams and %
a rolling, shaking movement that froze the men in ures with inadequate light in the evenings; yet they were
iheir tracks. Rocking and vibrating before them was so excited about what they w^ere doing, so stimulated
the line of wooden stands holding the glass panes! The by the tiny successes of each day that they felt like
men held their breath, but it was over as suddenly as it kids again and could hardly wait for the light of dawn
had begun. No glass was broken, nothing was off its that would bring them new opportunities.6 Possibly wl
mark, the track seemed intact and straight, but how every inventor has the chance to experience this sensa¬
could they be sure? If they went ahead and completed tion, for often inspiration ends up in perspiration and
the scene and it turned out to have a jump or a jerk or a compromise and drudgery. Fortunate are those why
false move, it would be ruined and there would not be have known the exhilaration of the creative process.
enough time to reshoot it before opening night. If they With the beginning of the second World War. all of
started all over again, they barely would have time to this came to an end. Our highly trained and taleniel
finish it before lhat important dale. What if there were men were drawn into the war effort where their special
a delay for any reason? Was that cutting it too thin? skills were more urgently needed. Only a couple of (he
This was a big decision—for someone else to make. younger men returned to the fabled Special Effects,
The crew went home to bed. Department, but the work was different. Economics
The next morning the department heads decided it was calling for experimentation, but in efficient meth¬
would be better to chance another earthquake, fire, or ods rather than in new fields.
flood and go for a lake they could be sure of; so once By that time, Ub Iw'erks had returned with his own
again the crew rolled the camera back to the starting type of creative invention. It had been barely a dozen
mark, checked the lens, put in new film, and started years since he was known as the greatest animator in
one last time. Walt cancelled his badminton and barred the wrorld, yet now he had given up drawing to con¬
everyone from going on lhat stage. centrate on his inventions, finding more productive
With only one day to spare, the crew finished processes„ building new devices, creating artistic
shooting and rushed the Him to the lab. There were no effects. Part of his genius was his ability to go directly
disasters on the stage or at the lab, and the men had to the heart of the problem when something was not
done a perfect job. While they took a week’s vacation, working. Where others tried to fix the failing part, Ub
someone else jumped on a plane for New York with instinctively went right to the thing causing the prob¬
the precious film under his arm, arriving in the after¬ lem. Where others looked for a way to get the job
done, Ub found a way to make it into something bet¬
ter. He understood cameras„ projectors, lenses, cds,
paint, ami film,, yel he also understood the artist’s
difficulties, the ingredients of a quality product, and,
most of all, Walt's dreams.
The Special Effects Department became more
sophisticated, replacing haphazard tactics with orderly
procedures. Instead of the contraptions built with tape
in such a casual manner, the new devices were built to
work and to last. A machine shop was assembled to
make precision instruments and intricate mechanisms
(hat would assure repeated quality in the visual effects.
The men in the department became some of the most
highly skilled in Hollywood and occasionally were
lent out to other studios when very special effects were
needed.
The unforeseen and enormous problems of Disney¬
land and Walt Disney World drew Ub away from the
film work, and Eustace Lycett took over the depart¬
ment. Eustace was one of (he ’ "kids” from the earliest
days, and together with Art Cruiekshank and the rest of
chi! crew could handle any problem tossed to them. Sea¬
soned, experienced, creative, their skills were needed
more often on the live action pictures than on the
carefully budgeted animation features. For The Black
Hole, they had to think up the answers before anyone
was quite aware there would be a problem They knew
there would have to be a device that could hold a
model spaceship and move it in every possible man¬
ner In addition, they would have to have a camera on
a mount that could make any move to match, and the
whole would have to be coordinated by some mechan¬
ical mastermind. They sat around in a circle, dis¬
using, fust, what they would have to have; second,
what type of thing would do it; and, third, how such a
thing could be built, This approach was reminiscent of
creating the homemade contraption for the last shot in
Fantasia, but the results were dramatically different.
The men developed something so intricate and com¬
plicated, yet so simple in appearance and operation,
that it seems to he a highly sophisticated robot—which
is just what it is, although they prefer to call it a
"computerized camera." As long as these men can
mme up with answers before we realize there is a
quest ion „ the films will continue to combine fantasy
am] believability in a very real way.
 Color
Before 1932, the only full color cartoons anyone had
ever seen were in the Sunday newspaper comics, so il
was only natural that when the first animated cartoons
appeared at the labs, the technicians tried to match
their harsh and gaudy and brilliant colors. When Ihe
original art material was sent over to show the delicate
gradations that had been so carefully painted, ihe reac¬
tion was still, "Why do you want that? This has more
dyforutt
Lady and punch and sock to it!" Gradually their attitude changed,
but somehow the film did nob Foa’ years Walt battled
with Technicolor to get them to give him the exact
colors his artists had painted, until everyone began It)
realize that it wras the color system in the film itself
that was too crude to control to such a fine degree.
It worked quite well for all the hues in a middle
value, but once the colors started getting to Ihe lighter
shades they bleached out quickly Teeth that were sup¬
posed to be merely clean became so chalky they fairly
leaped out of the mouths, whites of eyes glared like
headlights, soft foam on water looked like piles of
popcorn And on the other side of the scale, anything
slightly dark went almost black.
To get a cream-colored dress or a soft bluebird was
- Lady in
not easy, and a black dog, like the Scotty in Lady and
the Tramp, was almost impossible. If he were painted
darker than a medium value, he went too dark to see
'olors sc-
any detail or facial expression. Careful shades of grey
I between
'.A whole had to be selected, and the feeling of a black dog cams
a for the from painting the backgrounds very light behind him.
'ten mixed Every color system on film has its own strengths
:enes im -
and weaknesses that somehow must he mastered by
the craftsman who wants to put his color theories on
the screen. It is often an annoying and frustrating gam¬
ble but it is worth the effort if one is at all concerned
with the appearance of the product, T. Hee, brilliant
caricaturist, stylist, and director, claims that, "Color
is equally important to the drawing itself." It supports
the whole idea being presented, certainly, and it con¬
trols the mood completely, leading the audience w
surely as the music track from one feeling to the nest.
More than that, colors have their own vitality, making
characters as well as situations exciting., restful, happy,
or even funny.
 The delineation of any personality almost starts with cost, what colors are available, and even which ones
color. Costuming has been an essential part of the are stable or cause problems. In addition, she is a line
I he liter from the beginning, but slightly less understood artist and has a good color sense. She knows how
by many is the impact anti potential of the colors them¬ much the thickness of a cel will darken a color and
selves. T Hce is more sensitive than most when he wrhat to mix to compensate for the loss. To the un¬
claims, “On some of the caricatures . . . I would make initiated, the list seems endless.
the guy's face green, because of his character , , , he As one of the women put it, “You had to know
didn't look good in any other color. . . , And other every other aspect of the business to do your own
people, I would make their faces completely red. and work, and he creative about it. . . . We re like a liai¬
(heir faces were not red, , , . Red is vibrations and son between all the departments."'"
green is vibrations and all of it is electric and it’s alive Finding a set of colors that will work with the gen¬
and if you're around a person for a little w hile , „ , he era! scheme, the specific background, and the needs of
takes on a color!'' the character is only the beginning of the problems the
A color sense is like any other talent; an artist either Color Model expert faces. All of the earlier work has
has it or he does not. Relative values can be learned, been done on paper with a variety of techniques, and
but the primary approach always will remain, making now a way must be found to achieve an equivalent
that artist orthodox or sensational, dark and mystic or effect in flat shades of tempera paint within outlines
spit ling, realistic or abstract, no matter how well he on a cd. Handsome, appealing characters like Jiminy
ever learns to pul colors together. This is a constant Cricket or Thumper look so right (hat the average
concern to the producer who w>ants a special feel to his person has great difficulty in imagining their being
film. Even if he has a dozen color stylists and back- any other way, but they all took imagination, dedica¬
ground painters, seldom will any he exactly right for tion, and persistence.
the proposed subject. There must be conferences, crit¬ One small example is the expense that wilt be
icisms, suggestions, and expert guidance to obtain a incurred in putting any character on the screen. To
result that has the full compatibility of idea and graphic begin with, each color represents an expense in itself
representation. by the time it is mixed, put in small jars, dispensed to
The man selected will have the responsibility for the painter, pul in the exact area on the cel, and then
creaiing not only a color key For the whole picture, but allowed to dry. Bach use of color adds an additional
Lhe basic appearance of the characters in the various expense, so the Color Model advisor speaks up early
sequences. The director always may have visualized when she sees a bit of questionable detail on the ani¬
his heroine in a pink gown, but if pink does not fit the mator’s drawings. That item will have to be drawn
color scheme being suggested, he had better be pre¬ many limes, have a color selected, be painted on hun¬
pared to change his concept, perhaps radically. The dreds of cels, and, finally, checked carefully. We were
ephemeral world of a “Nutcracker Suite" or the quaint told, “Bach button costs ten thousand dollars!" and
realism of Geppetto’s house only can evolve as the we became very selective in our decorative additions
colors work together perfectly. The background man to the characters. The question is constantly asked,
seldom will have complete authority in this area, since "Is it worth it?" “Do we really need that extra but¬
no film is fully successful when one function has dom¬ ton?" “How about the buckle on the belt—does it
inated. To see that a balance is maintained, the direc¬ really need three colors?"
tor anti his layout man wrork closely with the painter Jiminy Cricket had 27 colors in Pinocchio, but when
white the producer watches the results carefully, he appeared later in the Mickey Mouse Club films that
Further help comes from the Color Model supervi¬ number was cut to nine. Almost any character will
sor, who must have considerable ability to qualify for have that many colors, no matter how simple he is.
iter job. She knows the Ink and Paint Department well, There are always lots of little places to paint, such as
knows what is easy to do and what is difficult and time inside the mouth, the eyelids, (he bottom of the feet; a
consuming, approximately how much any process will person does not ordinarily think of these as having a
different color, yet n is needed for definition. 13lack is a complete absence of light on the screen
Everyone knows if the character is a drab little guy, and thus becomes a hole rather than a color. While it
a flamboyant extrovert, a deceitful villain, a sweet may add accent and sparkle to a still drawing, it has a
motherly type, but the selection of the exact colors tendency to suck the life out of the object when it is
that go together to create this apj^earance is a matter of projected. In Sleeping Beauty, the bodice of Merry-
persona] preference. The belter the taste and judgment weather's peasant costume was black; and while it
of the color model experts, the more handsome the made a brisk pattern in the overall design, there was
character will be. These challenges are compounded an amazing loss of vitality in the scenes in the color
by the fact that colors that appear right in a daylight print compared to the rough pencil animation
setting become garish against a nighttime background. Black details also tend to blend into the darker areas
Often a different set of colors will have to be chosen of the backgrounds, causing them to lose their identi¬
fur the night scenes or for some other unusual sequence ty, The marcelled waves of Captain Hook’s hair in
with a special lighting or mood. And the problem does Be ter Fan caused much consternation in the Inbet ween
rial stop there . Department because the contour could not lie a straight
It is not enough to choose colors for one character inbet ween of the lines, hut had to be a complete draw-
that will work throughout the whole film. His colors ing of the hair in a new position. However, his hair
also must be related to those of all the other characters caused even more consternation in the final film as it
appearing with him in all the sequences; and, inevita¬ faded into the dark shapes in the background in scene
bly, the shades arid hues that seem perfect for one after scene. We could have saved ourselves a lot of
figure clash and fight with the perfect selections for work and money if we had known that the colors
the character beside him. Then when that annoyance is behind him were going to be that dark.
solved, the next sequence introduces new figures who As a film, Pinocchio is undoubtedly the most gor¬
upset everything that has hecn decided up to this point geously intricate that ever will be done. Fantasia had
There is still more. Often there will be more than more impressive scenes and visual surprises, but for
one character representing a general type of person in richness of handcrafted detail, Pinocchio will never he
the story. There might be two bad guys working as a surpassed. Wralt knew that he wanted a picture with a
leant, or three fairies who are always together. The great feeling of atmosphere, with dimension and space
ultimate, of course, was seven dwarfs. Setting the in the backgrounds. He wanted dimension in his char¬
color models is a difficult and time-consuming proce¬ acters too, with an emphasis on depth and roundness
dure, It takes more than one nice sketch to find the in the actions. To aid in this, the Color Model advi¬
answers. sors, working with the background painters, the color
If (he picture is designed to he realistic, bright col¬ experts„ anti a special group of effects animators had
ors on the characters will be a problem, causing the developed several techniques that changed a flat area
background painter constant headaches as he endeav¬ of paint into a rounded form. They used a blend that
ors to fit the figures back into his painting or maintain was rubbed on, drybmsh that was stroked, and air¬
iisuccessful color scheme for mood. Snow White run¬ brush that was sprayed on.
ning through the woods in terror is a good example of Gradually one department after another was created
colors (hat adapted as well to the threatening forest as to control these special processes. The airbrush depart¬
they had previously to the sunny glade where site had ment alone had over twenty women in it, all adroit at
been picking flowers. Muted colors and a moderate controlling the delicate spray that softened harsh areas
range of hues give the painter far more latitude in of color. The kitten Figaro had both airbrush and
dealing exciting pictures on the screen. A character drybrush on his face to give him the soft, furry look so
that is all one color will limit the backgrounds to about typical of a kitten. Since there wras no way of making
two sets of colors for the whole picture; any other these particular effects exactly the same way twice in a
combi nations will be muddy, loo light, too colorful, row, there was bound to be a Bicker and a crawling
too dark, or jusl bilious. when it was finished, but it helped the appearance so

<3 aMist: Bill Tyiiti—Fantasia

ninth that the decision was made to use both tech¬ glow that seemed to surround the figures, and! he wanted
niques. both of those features kept in the final form, no matter
It was imperative that this work be started early so how it was done. To the assembled artists, some old
there would be time to experiment. This had the added and some new-, he said, ‘ ‘I say there are possibilities in
advantage of keeping the whole crew excited as they those backgrounds down there . . , and with our dew-
sawr new effects being created for the picture even drop fairy there's a chance for a different treatment,
though their own part of the production at that time Get away from the vivid colors and get a night color
might have been minimal or routine. It also gave the for her. . , , Our backgrounds should be done in a
animators a chance to make their own suggestions and fantastic w-ay when rendering them; so i say, let's
even to incorporate emerging ideas into their handling open up and give us something that hits us, BOOM!"
of the characters. When Walt started Fantasia, many When the meeting was over the puzzled technicians
ot the pictorial suggestions were so different from the asked each other, "How the dickens are we going in
standard appearance of cartoon material that a special get this thing on the screen?” The new artists won¬
crew of color experts was combined with the techni¬ dered, too. Obviously, more painting was not the
cians and cameramen to see what could be done in this answer. They would have to explore all the technical
new direction before committing the whole studio to devices and processes that might help them, as well ;as
the project. think up some new- things to try in every area. Studying
Typical of the new men were established painters the sketches, they gradually found certain elements
such as Lee Blair, Elmer Plummer, John Hench, and that could be drawn, and others that would have to
painter-teacher Phil Dike, who was put in charge of all rely on what the camera could do: the lenses, the
color. Every one was encouraged to experiment in tech¬ tillers, the double and triple exposures. Still other*
niques, design, and effects As John Hench said, “That might be handled with special work on top of (heeds:
was one thing; if you wanted to do something Walt airbrush, oils, smudges, blends.
would let you do it/’ John got into backgrounds, which They tried a first test and looked at it long and hard.
soon led to a curiosity about what happened in cam¬ ' LGee—it doesn’t look anything like the sketch Walt
era, He had done some photography, so he tried dif¬ liked; what do we do now?” All. the experts sat in on
ferent tests to see what effects he could get. This led to these showings, offering suggestions front their own
three years in the fabled Special Effects Department limited knowledge, and the materials were prepared
doing every thing. At one time be even did some effects tor a second try. Finally a way was found—it might
animation. His sense of design led to work at WED, have taken as many as twenty separate exposures undet
the T mag meeting” subsidiary company that created the camera, or a mask to block out light from under¬
Disney land and Walt Disney World. He later became neath, or a soft multiplane effect with slightly out of
one of WED’s chief executives, focus edges; each scene was different, each took imag¬
Walt tried these men here and he tried them there, inative exploration, hut each eventually surpassed tk
as he found out what they could do best; and with his original sketch in every way. Those dewdrop fairies
incessant drive to place an individual for maximum glowred and shimmered, were feminine and delicate
creative output, he started them developing his radical and worked in backgrounds of pure magic.
ideas for a concert feature film. Like the stylists, they The white ballerina blossom that tloated so grace¬
were unhampered by past experiences on cartoons, fully down onto the placid, black water was inked in j
and were free to express an idea in the medium that white outline that matched the color of the petals. Hui
best suited them, without regard for how it eventually she still looked too harsh, loo chalky. The scene was
could be duplicated on cels. shot again with a slight diffusion that helped, but it
At one meeting. Wall’s eye was captivated by a was not until separate exposures intensified (he light
series ot soft pastel sketches on black paper showing a that she seemed to glow with a pristine beauty, film)
tiny fairy spreading dewdrops on the plants at night and radiant. EUtter Plummer had designed the scene,
Walt particularly liked the delicate handling and the knew what he wanted in values, and worked with the
men m Special Effects until they got it: hut he still
insistence on exact values and relationships to gel the
painted the background himself to he sure that it would
new effects he was seeking on the screen The com¬
look just the way he wanted it.
mercial artist who might say. ' That's good enough/’ ^
Elmer explained his position this way: "[ was a
would never have the persistence or the judgment to
bona fide artist and had pictures hanging all over this
know the difference. It often took great persistence.
country, watercolors and oils, and all of a sudden I
One of the most impressive scenes in that sequence
found myself doing story sketch in pastel, but done in
is the pride of the harem in the Arabian Dance, the 3
such a way that it was hard lor a guy who was not a
delicate, white tish writh the long flowing tail, sur¬
pro—who did not know the technique—to put it down
rounded by her bevy of maids. As their black, semi¬
the same way, Walt relied on this uncompromising
transparent tails enshroud her at the start, there is a .5
 scene or buried under layers of paper The action even¬
tually was broken into three scenes, which made ii
easier to carry, but it still took just as long to shoot.
The success of these glorious scenes was ilue in
large measure to Phil Dike, the studio’s color coordi¬
nator. He had an ingenious solution to the problem ■*'
getting a satisfactory result from the elusive capabili¬
ties of the film being used. He asked Technicolor to
print a scene as far to the red side as they could iwhat
they called “out of line”}; then, gradually, on succes¬
sive prints, he had them come back, one stop at a
time, to normal. Then he ordered the same thing with
the blue. This way he knew what he could expect,
what hues were on his palette, and could work to their
limitations.
These experimenting artists had further difficult^
with the slightly more organized departments Lbai
surrounded them, Walt had a way of telling one pet-
son to go ahead and get what was needed, to do tilui
ever was necessary to complete the job—without telling
any of the other people who would be involved in such
a project. When these new men went to another depart¬
ment and announced that they had to have a certain
thing, or something had to he done a certain way. or
they needed six inkers right away to do some vort
directly for them, there were all sorts of departmental
jealousies and wounded egos. Supervisors were Iryii^
to solve new, unheard of problems, run Iheir dcpwi-
menus efficiently, and still give Walt what he wanted;
so, when some outsider came in with an idea of lathe
filmy light provocatively gleaming behind this host of over for a while, there naturally was some conflid \.i
veils, Never has an object on celluloid Looked so diaph¬ one could ever run to Walt and ask him to straighten n
anous and delicate. When this effect finally had been out or define lines of authority, so each man had lobe
l>erfected, it presented an enormously complicated job his own diplomat and do what he could to gel other- in
for the cameraman, but that was nothing to the shock cooperate.
he received when the completed scene was brought to That was the worst pari of Phil Dike’s assignment
him. He w‘as respected and he was liked, hut he had to work
The stack of drawings was far more than one man entirely through other people anil their departments,
could carry—the scene was over 100 feet long—and it with words as his only tools. He could not paint it for
looked like a small mountain,, for it included not only them, or shoot it for them, or change a lens for them,
separate drawings for the fish but for all of the spar¬ and since he worked primarily with other artists [her;
kles, the effects, the shading on the tails and the fins. was no end of opinions on what the color should 1*
Each level added another group of drawings. In fact, and how1 it could he obtained. But Phil was very dip¬
the scene had been so unusually large that the anima¬ lomatic, always took the blame, and somehow m
tor, Don Lusk, and his assistants had been the subject that the most beautiful scenes ever done in animniot
of several gag drawings showing them dwarfed by the were captured forever on film.
Ink and Paint that nothing might come out of the pen at all, except a
long, fine scratch. You draw slowly, you draw fast,
Tkre comes a day when the animation drawings have you make little strokes, you use sweeping lines, then
been completed. The scene works in continuity, the suddenly, for no reason, Ggrbloobi a huge splatter of
character acts as he should, his expressions communi- ink conies out all at once. The same is true of tracing
aie strongly, the layout supports his actions, and the onto a cel. It seems the ink must be "floated'' on
details of costumes anti props are all accounted for. rather than etched in to be successful.
On that day, a hig check goes up on the production In New York, it was felt that only men could master
chart. But the drawings are far from finished. They this dilEicult art; in Hollywood Walt assigned two
only have been approved as working correctly, Now women to the job. and when he could not pay them he
they must be put into (heir final form, the way the married one and made the other head of the Ink and
audience will see them. Paint Department. I he two ladies in question never
In the twenties, the drawings were inked directly on denied the story, although they exhibited knowing
the papers they were drawn on, with no shades of smiles as they listened to Walt's retelling of it over the
grey except for textures, dots, and decorations that years, *
could be done with a pen. Celluloids were used only Mary Tebb remembers the days that followed be¬
far the background and * held*' objects that did not cause she inked all of The Skeleton Dance hv herself,
mow. This saved the tedious work of redrawing every¬ ribs, skulls, and vertebrae. She asks herself now, “How
thing in the picture for every single frame. Winsor did I do it? I don't know, I was young. I see it now and
MtCay had fell that this constant tracing brought a I'm amazed!" But it was simpler then with a heavy,
breathing effect and a life to the total drawing that was untapered tine around everything and none of the
un integral part of the art form, but few w ho followed refinements that would make each cel such a work of
shared his diligence and dedication. He rightfully art in only a few more years. It was Walt, as in all the
accused them of making a commercial trade out of the other functions, who gradually raised the quality; he
art he had developed. asked in a way that showed he expected the girls to be
Lnmoved by this criticism, the men in the studios able to do it. In Mary's words, “That's what made
ranttrmed to search for easier and quicker ways to get him great, I think, because he brought out from us
thdr films completed. As long as the background was more than we thought we had.*'
"n a cel on top of the drawings, the action of the Painting is not as difficult as the inking, but it still
figures was restricted lo the open areas, and this lim¬ takes patience, organization, and considerable skill.
ned ihe types of gags that could be used. Then one Mary explained the job this way, "You have to learn
artist wondered why the figures could not be on the how to do it right first: learn how to mix your colors,
cels while the backgrounds were drawn on the paper read your model, put the right paint on the right
underneath. Instead of being done as simple ink draw- thing—how to dry it—and be sure you don't do it on
mgs, both the characters and their locales could be the front side of the ccl instead of the back. It sounds
painted in all the shades of grey as well as black and easy, but it's amazing how many people can't do it!**
white. As tong as the paint used was opaque, the On draw ing after drawing there are little areas that
painted figure on the cel would block out the parts of could be anything; part of the flowing hair, the skirt, a
(Ik background he was covering, while the clear cel tail, a ribbon, or even a hand behind the back in the
had little effect on anything else in (he scene. Ear! middle of an action. Looking at the drawing by itself,
Hurd is credited with this discovery, or invention, and there is no way of telling what it might be, or what
-here has been no essential change in the procedure in color should be put on it. Sometimes a check of the
fifty years. drawings in sequence will reveal the identity, but often
It is one thing to say that the drawings were traced a full conference must be called. “What is this thing
onto ^e celluloid, but quite another to do it. Anyone showing through here supposed to be?” To avoid this
who has tried to draw on glass with a pen will recall kind of confrontation, the animator’s assistant usually
 ■ j r* rs \ jh
' m f\ Ey'imH
V ' /f JH

ade Who Killed For a more natural look on

i? m 1934 Jenny Snow White, the artists in
dis were painted Ink ami Faint suggested a
,s of pink paint. delicate tint of rouge, cLdff?-
HDi inked in the fully rubbed on top of the
r hut the effect cel. and a little drybrush
ke clown rnake- on the black hair to soften
its contrast with creamy
skin.

Example of drybrush is
shown on Geppetto's hair
in this sample cel from
Pi notch io.

The completed eel of Cteo

in Pinocchio shows the
combination of self-ink
lines, transparent paint fon
theft ns )r and the subtle use
of1 ‘blend '1
 writes little notes on his drawings explaining any mys¬
This type of refinement was particularly needed on
terious forms created by the movement.
feminine faces whether they were human or animals.
1 he women who bad worked up to the more impor¬
A strong outline around any parts of the head changed
tant jobs continually were looking for ways to make
the feeling, as indicated by this note from a Pinoechio
the individual cels look more appealing. They did not
directive: "When Pinocchio is a puppet, before he
like 10 see crude, bar re it work going through the plant,
comes to life, we are going to have the black line
even though they knew' that probably, in action, these
where his neck joins because ii looks mechanical, but
drawings would do the job. Still, if the drawings could
when he comes to life, it spoils the cute ness to have
be made (o look better, to have a bit of shading, or a
those lines in black so we just ink this in the same
smudge, or one more color, or a bit of detail that
color as his neck so you don't get any hard edge here. "
would really make the work sparkle, they would sug¬
Before long, the characters had more colored tines
gest it,
on (hem than the black, and they became so involved
Looking at a cel of Snow White, some of the women
that the Color Model experts had a whole page of
fell that the black hair looked unnatural and harsh, so
notes on just (he inking, aside from the notations of
they tried adding a wisp of dry brush in a lighter grey
the colors I hem selves. The name accepted for the col-
to soften the edge of her hair. It helped immensely, so
oted tine became a "sell-ink line," and even after [he
they proceeded to add it to every cel all through the
inkers were replaced with duplicaiing processes, there
pkiure, with no indications from the animators, and
was still the need in critical areas for this kind of
nothing to guide them hut their own sense of what finesse.
Iwked right, this had to he done on top of the cels,
Still more refinements were suggested— many more.
and the only way to he sure the effect was working
One that was quite important for a few years was
from one to the next was by flipping the whole sheet
called the blend, a waxy little crayon (hat came in
of celluloid, heavy with paint. It was tiring and risked
various colors and could be rubbed on top of (lie cel to
l rat king the paint, but there was no other way.
slightly darken the color underneath. With the realistic
No one quite remembers who first suggested the
painting and strong dimension in the backgrounds, the
idea of inking the outline of an area with the same
cds w ith their Hat colors were beginning to look like
paint that would be used to fill in the area, but it
display cardboards, [’he self-ink line leading to another
revolutionized the appearance of the characters, bach
shade had helped, but now with a transparent smudge
space that is a separate color must have an outline
effect available in the blends, a turning edge could be
around it defining it from the area next to it. The hat is
suggested. As writh the drybrush, it required flipping
one color, the hair another, the face still another, and
the painted cels to be sure the work followed through
soon. When these outlines are done in black ink, there
in both placement and density from cel to cel; it look
is a heavy, crude look that is l ine for Peg Leg Pete but
time and judgment to put on just the right amount in
unacceptable for more delicate characters. Colored inks
the right places, but it added much to the appearance.
's ere tried on 1 lie t i rst color I i I ms and were a n i mprove -
The blend was such a successful addition that even
itient. bui when a look of quality and careful shading
Mickey and Pluto were given a face lift in The Point¬
pis needed, they were still too strong. So someone
er, Mickey's cheeks were not only round and shaded,
came up with the idea of inking with the same paint
but they had a light hit of healthy color; Pluto’s
iJiat would be put on the back of the cel. This paint
wonderfully flat lack of anatomy suddenly sported
was thinned down to the consistency of ink and made
shading that made him look like a collection of old
slightly darker to match the greying effect of the thick
telephone poles. In the next picture, he had all of his
ms of the cel on the color beneath it. Now there was former cartoon floppiness restored.
an ouiline that was scarcely noticed on (he screen. The
However, when the blend was tastefully used it cre¬
*'*y was °pcn tor sofl color changes on any form, the
ated marvelous effects. In some eases, the self-ink line
dekjre shades and subdued values (hat gave [he beauty
would be rubbed off after the area had been painted,
Hthad been seeking.
and the place where the two colors came together was
 tion. a whole little department evolved, consisting of
people who were adept at their own special effects.
When that mammoth scene of the fish from the
S
“Arabian Dance’’ arrived at Ink and Paint, it was this
group who put the transparent paint on the fins, the
drybrush on the tips of the tails, the sparkles in the
water, the highlights on the bubbles—all the extra
work that had to he matched and checked and followed
through until finally the cameraman placed them on
his pegs, one by one, in successive exposures, to cre¬
ate the mystic and shimmering spectacle of this pisca¬
torial harem. The trails of fairy dust marking the paths
of the dewdrop fairies. Tinker Bell in Peter Pan* and
every other object glowing with iridescent matter were
the work of this specialized crew. Difficult arid de¬
manding as it was, it was the essence of fantasy, Star)1
and animation, layout and background, special effects
and camera could all create incredible illusions, bin
the visual stimulation that came from this patience anti
care and skill added a touch that could not be dupli¬
cated by anyone else.
Actually, there was more involved here than just
artistic endeavor. The transparent paint that produced
the appealing filmy effect on the screen was made
from the bile of an Asian ox, and was smelly and
unpleasant to use. When this paint was employed for

net urc covered by the blend so that it became invisible. Walt

ieping was as amazed as anyone. “This is very effective! !
• umber
think we are certainly on the right track. I hen,
. Every
ompli- remembering his continuous financial problem, he
kers. cautioned, “But lei’s be very sparing with this blend
and those things. That is what will hold up the works;
all that blend will slow it up/' Later he commented
again, *T say watch this blend business, and not do a
lot of unnecessary work. It is too expensive, too. We
must keep from going broke on this picture/’
Most of these innovations had been worked out by
the Ink and Paint supervisors and the Color Model
advisors since the rest of the department was too busy
in spe-
vy turn producing the cels to do any experimenting, Walt
iifie, on asked, “Can't we do something here. . - ? ’ and the
v White women thought back to their art school days, or their
biend*'
childhoods, for any materials that might give a new
ice and
effect. As the demand grew for this elaborate decora¬
 shadows, ii was imperative [hat no outline be seen, so
the inkers had to trace the drawings onto the cels in
what amounted to invisible ink. The painters com*
plained that they not only had to work fast but could
not even see the line they were working to!
The washoff relief eels had [he emulsion on the
back of the eel where the paint was to go, and extreme
care had to he used or both would come off the cel
together. Reeky Fallberg, who was later head of the
department, says, “Oh, it was horrible! Everybody
moaned when they got those kinds of scenes.” There
even was trouble with the cels themselves, especially
when the only ones available were made of the highly
flammable nitrate. One shipment would be yellow,
one grey, one set would buckle, [he next would warp,
and all would shrink once they were cut to size.
When the animation on fiambi started filtering
Fantasia called for the through the Ink and Paint Department, a new problem
most elaborate eel work
arose, The legs of the deer had to he strong and rigid
amt attempted, This orig¬
inal cel dating front 1939 for the animal to be convincing. The assistants and
jJwh-j the variety of uwk inbetweeners in the animation building had taken great
done for each frame of film care in practically tracing the legs during a scene of
in She “Nutcracker Suited
little movement, but now the inkers found they could
adored lines, dry brush,
ait brush, transparent paint,
stipple—all in addition to
the difficult job of tracing
the pencil drawings in the
first place.

A embtnatioa of stipple
ijrf.j' Mm# in a variety of
rafoo w-tri used to repre¬
ss fairy dust and sparkle
tffecis. Here. Merry-
vfnihfr shoots a his of
,",vj?iV from her wand in
Sleeping Beauty,
 ists no longer could be held together. When peace
returned four years later, the concentration was on
better ways to achieve the same result that once had
cost so much in time and effort. Since no records were
kept in that era when procedures changed with each
scene, gradually people forgot how things had been
done. Before long, the equipment that once produced
the great effects—the drum that had cleared the frosted
cells, the mechanism that had processed washoff relief
cels, the inventions that had held detailed work together
under the camera-—was all rusting on the back lot. and
newcomers walking around the lot at noon wondered
why anyone would keep junk like that around. Just j
few years later, it was thrown out because the interest
h as ihis was in new procedures.
I-Tramp. The primary concern was to free the inkers from the

not copy these drawings accurately enough to avoid

the jitters tind wobbles that always managed to creep
in, Since (he moves were no small and no knowledge
of animation principles was involved, the Ink and Paint
artists suggested that they do the inbet weening on the
cels, eliminating the extra drawings that were causing
the trouble. There were many days during the making
of the picture that they regretted paving made the offer,
bat the results were magnificent.
This type of dedication,, in addition to the ten long
weeks of training before anyone even was hired , led to
the most beautiful inking ever done. The tapered tines
and the sure, deft touch made each cel a work of art.
Before the war there were many talented candidates to
chtKise from for this work, and the ones selected were
fine artists in their own right. Betty Kimball admits,
“The inkers were very good at drawing. , . . They had
to be. because they had to get that feeling of the ani¬
mator's drawings in their ink lines, and it’s very hard
to control a pen on that slippery celluloid,”
Mary Tebb felt that the morale of the staff was
reflected in the work they produced. “I think that’s
one reason why the product itself is , . , still beautiful
. . . because it was done by dedicated people/> There
is certainly some elusive reason why the pictures never
Hook dated, beyond the styles and fashions in both art
work and humor.
With the second World War came economic prob¬
lems, and the immense staff of highly skilled special¬
tedious process of endless [racing, so they could devote Other colors that the Xerox Corporation could offer
I heir lime to things that really counted. There was a were no better, so we attempted to make the dark
drive on the part of the animators at the same time to outline look more acceptable by using it as the style of
imtl some way to duplicate accurately their own crisp, the whole picture, backgrounds and all. 101 Dalma¬
strong drawings on the eels. The women were good, tians was the result, spearheaded hy the multitalented
iff) good, hut [heir work was still a tracing, and Kert Anderson; the linear quality of the artwork gave a
tracings never have the vitality of the original. In the crisp, handsome look, especially for a Him about black
late fifties, Ub Iwerks adapted the Xerox process to anti white dogs. The animators were very pleased, hut
our needs, creating a great machine that copied the Walt felt it lacked the delicacy and the care that the old
drawings on an electrically charged plate. There was pictures had achieved. Many in the audience felt the
very little delicacy in the result, and a light line was same way, saying that they missed the elegance of the
apt to drop out entirely, hut the animator's drawing prewar films. It was not until we had perfected a grey
was there, strong and irrevocable in the blackest of line for The Rescuers that we were able to lose the
lines. In fact, this heavy, black line put us right back harsh outline and regain a soft look. That simple
into the 1920s, before the refinements of inking had change brought raves from critics who claimed we
begun. had developed a whole new style for this picture.
hbit children and
urtle friend from
Hood. The anima-
9recutled the faith -
of reproduction us-
new Xerox process
of hand-inking the
U they missed the
t in the faces that
ink fines hud given.

Many stories seem to call for a final shot of [he We need [o animate only one complete step of tte
ma'n character walking away into the distance while character walking away from us, and it can be any
I he camera pulls back slowly—usually up into the sky size convenient for us to draw. Once the action is
for a picture of the sunset or the moon or a title that
checked and approved, the drawings are sent to the
saysT I he End. I his was always almost impossible Xerox Department where they arc blown down to the
to animate, because of the dual problem of making [he correct size for the scene More than that, the draw¬
figure just [he right amount smaller with each step ings are repealed over and over, smaller each lime, so
while keeping the same spirit throughout. The camera that theoretically our character can keep walking for¬
usually pulls up into the sky because the character
ever, From a practical standpoint, [he painters ciiniwi
looks so terrible that he is ruining [he whole concept; paint him after he reaches a tiny size, hut usually Ihui
and, even though the scene needs to continue for at point is not reached until the needs of the scene have
least nine feet, it would be impossible to keep him on been well met.
the screen any longer.
The one problem that remains to be solved is brought
Rue with the Xerox machine* all that has changed about by (he very procedure [hat saves so much effort.
 endless copying have given way to special work that
requires the same skills, but now the inkers can con¬
centrate on just the things that will make the picture
look its best while costing the least. With a giant
machine to lake over the dull parts of their jobs, they
now can devote their rime to the projects that a machine
cannot do.
From time to time, the key creative personnel fell
that some of the Ink and Paint artists who had done
superb work should get screen credit for their efforts.
It would be impossible to mention everyone, of course,
but a few, with unusual talents, or that extra bit of
dedication, should be recognized. This never occurred
for several reasons. First of all, in the early years, no
one got screen credit, Walt had known that the audb
enee would respond better to one name—one product
that easily could be remembered—than to a long list of
unrecognized names. Still, he was appreciative of crea¬
tive effort and felt the person who did an outstanding
job should be given credit for it.
On the comic strip he had tried to replace his own
name with those of the men who actually were doing
the continuity and the drawings, but he was told by the
syndicate that such a change would kill the strip. The
public knew Walt Disney and that was the name they
wanted to see on the drawings, regardless of who
made them. When he embarked on the feature films,
Bianca from The Rescuers. Thin pencil fines and a medium
grey letter in rhe Xerox machine finally gave ax the soft however, there was a precedent already set from the
appearance once more. Colored fines added to a cel of this live action films that justified the naming of his key
imd recaptured the delicacy we hud enjoyed with the inking, people. Bui by that time, there were over 600 mem¬
el Mfraciion of the cost.
bers of his staff putting in tong hours, working with
complete dedication to the studio and devotion to the
Any small, insignificant, hardly noticeable error in films. Most of them were unconcerned about screen
the movement is magnified by repetition. A slight limp, credit, preferring to be know n as just part of the team.
a gimpy walk, an unnatural roll to the body, a fool Still, it was impossible to list even half the number
that picks up too high, a leg that pushes into the ground, of people who really had struggled to make each film
any little thing that would never be noticed in one step an outstanding experience for the theatergoerT Assis¬
of an ordinary scene, becomes amplified with each tants, inbelweeners, cutters, sound men, cameramen,
repeat anti I the character locks as if something is and. especially, the "girls'1 in Ink and Paint had to be
terribly wrong with him; and as the camera soars up left out. even though the films could never have been
into the sky, most of the audience is wondering if made without their sustained efforts. Some people
someone should not go help the poor fellow before it is claimed that this work was only a craft and not at all
too late. comparable to the creative thinking done by the Litnen
There continues to be a need for good inking, but it in the main building,” but we relied heavily on their
ss in small areas where a self-ink line is used or where skills and their ideas, and they never let us down. We
seme interesting effect is desired. The long hours of loved those girls. Still do!
 /r
V'/A/

Jim MacdonuUt mokes the sound for Evinrude in The Rescuers,

li. The Disney Sounds
"I think a x<Nki study of music would be indispensable to the animators—a realization on their pun of how
primitive tiiusie is, how ncititrul it is for people to uwi/ to go to music- tt study of > hythtti. the dtim tj the
various rhythms that enter into our fires every day/' Wall Disney

Work was still being done on the Iasi segments of

Fffliuuw when the Bambi crew moved into full pro-
durtitm, and Wall was kept hopping from one projec¬
tion mam to the next to keep up with the reels as they
progressed. One day he was called into a meeting on
line forest fire sequence in Ft an: hi just as he finished
viewing the work reels on Beethoven's Pastoral Sym¬
phony. The Bambi picture reel was only half com pie l-
d.but the intent was clear and the musician, Ed Plumb,
was eager to present his ideas on the score lie was
writing. Halfway through his presentation, Walt
slopped him and asked the projectionist if the Fantasia
reels were still up in the hoolh. They were, so he
ask’d to hear the storm music from the Pastoral Sytn-
pfawiv run in sync with the Bant hi reel. We were
dunned by the power of the music and the excitement will be bigness and majesty and soaring spirits; with a
it gave to the drawings. nervous, fluttering melody line on a single instrument,
When it was over. Walt turned and said. “There, or pulsating drumbeats, there will be agitation, appre'
Ed, that's what i want. Something hig! See the differ¬ Pension. suspicion. Music can build tension in com¬
ence'1" monplace scenes or ease it in ones that have become
Ed's look was part shock, part disbelief, and part visually too frightening.
pleading, "But. Wall—that's Beethoven!” At times there is value in playing counter to what is
Walt responded. “Yeah. . . ?” and waited to hear being seen. Chaplin writes of his troubles in getting
same reason why Ed could not write the same sort of arrangers to realize that the music behind his tramp
thing- It was no more than w hat he asked of his w hole character should not attempt to be funny, but should
stiff day after day . strive for an emotional dimension. 'T wanted the music
Music is undoubtedly the most important addition to he a counterpoint of grace and charm, to express
that will be made u> the picture, It can do more to sentiment, without which, as Hazlitt says, a work of
bring a production to life, to give it integrity, style, art is incomplete,”1
emphasis * meaning, and unity than any other single Still other limes require the music to express an
ingredient. With the surge of a full orchestra, there attitude that cannot be shown strongly in moving draw-
 connotations (hat created an immense emotional re¬
sponse, Movie theater musicians had a special feeling
for just the right music to fit any situation, the back¬
ground to recall tunes from everywhere* and the ahil
ity to improvise constantly, adapting new ideas Lo old
songs. Their music communicated: Danger . . . Ro¬
mance . . . Loneliness . , . Cold . , . Joy. . . Longing
. , . Bravery. . , .
Walt brought men in from all over the country to
help develop a new use of music in a w hole new kind
of entertainment. They included Carl Stalling, who
had once played for the La ugh-t)-Grams back in Kart-
sas City; Bert Lew is* also from Kansas City; Frank
Churchill* who wrote the music for the famous flvpa-
per sequence with Pluto, and "Who’s Afraid of the
Big. Bad Wolf,” and alt the songs for Snow While
Leigh Harjine* who was most famous lor When You
Wish Upon a Star” but had done the music for such
mgs. Feelings of isolation, rejection, an awareness of diverse subjects as The Grasshopper and the Ants ind
beauty* a sense of growing strength, of hope, of l he Old Milt1, and Ollie Wallace, who composed the
devotion—these are all inner emotions that are diffi¬ score for Dumbo with Churchill and was best known
cult lo show. Fortunately, this is the area of greatest lor 'Dei Fuehrer's Face. ” These men were joined bv
strength for music* and the musician who feds the Albert Malotte* who achieved more fame as the cm-
mood in your film can make it all intensely moving. poser of "The Lord’s Prayer,” and the highly talented
Since music is so closely associated with most of Paul Smith. Iresh out of university and full of muskal
the major events in our lives—nursery songs, camp- ideas. His adaptation of cartoon techniques in the stores
tire songs, school songs, religious songs* dances, tor the True Life Adventures several years later added
weddings, and, finally* funerals—it becomes the soul immeasurably to that series of live action films. Buddy
of our memory, forever coloring our impressions. Just Baker also contributed to both live action and cartoon,
the playing of a familiar theme brings back the emo¬ showing equal facility in symphonic suites or comic
tions of past experience, and through associations we chases.
can be made to feel empathy even for peoples of dis¬ Bach ol these men had a great sense of melody and
tant cultures. This becomes a vital element in making a unique ability to orchestrate very special feelings. Of
fantasy worlds believable—not just as a place observed them all. Frank Churchill probably had (he greatest
from the comfort of our theater seats, hut a region we fed for the animated film, as his score forSwm
actually inhabit for the duration of the film showed so well. The bubbling quality and friend h
Before the days of sound* it was the organists and spirit of the section in which the animals lake the girl
piano players in theaters across the country who used lo the dwarfs' collage was especially appealing. and
the magic of music to transport audiences to other we asked Ed Plumb what gave the music [hat extra
lands and other times, in a primitive and very direct something. Ed squinted his eyes, "Y'know, I've mem¬
way, these musicians communicated with the viewers, orized every note in that orchestration and I still can i
leading them from one emotion to another as the story figure out what does it.”
in the film unfolded, From opera they took themes of Alter Frank Churchill’s death, his room was given
passion and torment, descriptive passages and mood- to Ollie Wallace, Ollie was peppery, spirited, and
setting phrases. In folk songs* popular songs* senti¬ always had a twinkle in his eye. so when heclain^ed
mental ballads, they found melodies with strong that Frank's spirit was responsible for the great mefo-
dies Lhl connmied to come from that room we nodded over and over again while the animation director
our heads and smiled. Hut one day he was scowling visualized and timed the action in his mind. Working
and professed great annoyance. "That Churchill hasn’t back and forth, the musician would sometimes change
whiten a decent note in (he last three days!" elements in the score to enhance certain actions, or the
In 192S^ no one knew how the drawings of the director would modify some piece of business so that
cartoon and the notes of (he music could be planned it worked better musically When both were satisfied,
together, It was easy enough to improvise a score to a the director would mark the action down on the dope
completed film* hut to figure out ahead of time where sheet’ | Bar Sheet| while his partner sketched out that
the heats would occur on the drawings was beyond part ol the music score. Then they would move on to
everyone. Walt insisted there must be a way the two the nest little piece of action/'
ccmld be worked together and be controlled and built This close cooperation became the standard proce¬
upon and changed. What kind of graph or chart or dure as other musicians were added to the staff It was
score could he devised that would bring the music and a long and tedious process for musicians more adept at
picture together?2 improvising through inspiration, and they often wished
The newly arrived Wilfred Jackson had the answer they could withdraw from these daily meetings after
with his metronome. He reasoned that if the film ran at laying out some basic footages and the number of bars
a constant speed of 24 frames a second, ail one had to in a verse or a chorus. Even after the director had
do was determine bow much music went by in a sec¬ worked over every last movement in the picture,
ond. Although his knowledge of musical structure was stretching it or condensing it to fit the pattern of the
rudimentary, he did know bars and beats anti staffs beats, there was still the animator who had to he
and signs, and since the tunes being used for these first satisfied, and lie inevitably had more refinements and
films were rather rudimentary themselves it all worked ideas that built on what already had been done. There
out quite nicely. A new language had been discovered. were other times when the animator simply could not
Il seems simple enough now, but Dave Hand reported put over all the business demanded within the footage
that animators in New York were baffled anti tried limitations imposed by the music, and then the musi¬
over and over for a year and a half before figuring out cian would be asked to add just one more little beat to
a way to establish where (he accents would occur while his music—just one? Astounded at this lack of com¬
making the drawings. Jackson’s system was easily prehension of the basic mathematical structure of
expanded to include variations in tempo and other time music, the musician would insist on a full measure, or
signatures, and as long as the song adhered to a strict better yet, a phrase, but that only seemed to add more
beal ii could be written out from beginning to end. problems. The action could noi he padded by that
The director knew what part of the song would be much. So the "3-12 measure" was invented.
heard during any action he planned, and the musician To a measure containing two heats, an extra beat
knew what movements were being planned to go with was added, creating a measure of three heats. When
tk music. The animator knew that if he had his char¬ the first musician gave in to this compromise the tempo
dier slide from early in Measure 54 to ibe middle of was in 12s* twelve frames to each heal, so it was
Measure 55, there would be either a slide whistle or an called a 3-12 measure; but the term persisted regard¬
ifiynimental glissando to back him up on the final less of tempo lor years. It was like adding an extra
winhJ truck. step on one fool m a march; instead of “Left, right,
The musician and the director worked closely lo¬ left, right," it became, "Left, right, right, left, right."
rdlier in the same room, planning the entire picture When an animator with a musical background asked
before any animator began a scene. Wilfred Jackson how this was possible, lie simply was told, "Uh,
told of these sessions in an interview: “First the musi¬ Churchill knows how to do it!"
cian would suggest tunes for the various sections of Walt used to claim that Frank Churchill always slept
(k picture to get the mood or genera] type of action through the story meetings and never listened to his
bead] part. He would patiently play the same phrase first instructions, hut Frank hardly can be blamed. Me
knew that no in alter what ideas were tossed out, and they had never faced the discipline of working to the
no matter how enthusiastically they might be received, rigid pattern of a beat. Where ordinarily ihey would
that would have little hearing on the music he eventu¬ have taken an extra eight or ten frames to complete an
ally would write. By the time footage was added, action, stage a pose, or register a look, the music
phrases repeated, sections cut out, and everything plas¬ made them search for ihc absolute essence of the
tered together with an assortment of 3-12 measures, idea—that and nothing more. No frills, no extras; get
any original plan would he so butchered there would right to the point. It is doubtlul if they ever would
he little of it [elt. He figured, correctly, that he would have achieved this concise distillation without the con¬
do heuer to wait until the decisions had been made and stant pressure that demanded they find a way. Looking
the fool ages set, and then he could write a score with back on it now, we can see that it was valuable and
integrity and How, regardless of what had happened to necessary training. Unlimited footage nearly always
the so-called structure He would sit at his piano pen¬ lulls the animator into a slipshod performance.
ciling in his melodies and muttering, "This note is for While the shorts featuring Mickey and action gugs
the director, and this is for the producer, while this were giving the musicians such problems, the Silly
little note down here is for the animator, and this is for Symphonies were pushing into a new relationship of
the director's Aunt Tilda, and this is just for me!” music and animation. Here, the integrity of the music
It was not an easy procedure for anyone, but that was more important, and the action had to do the
dose collaboration was the very thing that produced adapting. When a theme from Rossini or Schubert was
the new art form. From the advent of sound to the late used, it had to be used intact or the whole effect was
thirties, music and animation had been one. Wilfred
Jackson expressed the general feeling: "1 do not believe
there was much thought given to the music as one
thing and the animation as another. I believe we con¬ Bar Sheets
ceived of them as elements which we were trying to
fuse into a whole new thing that would be more than 'fhe exposure sheets were short and only represent
simply movement plus sound/1 Jerome Kern recog¬ enough footage for three or four beats to a pujie, a
nized the artistry in this process and claimed that a Wilfred Jackson wanted to see (he whole sonjj spit
distinct new musical form had been created. He termed out before him like sheet music, so he originated il
it "the use of music as language” and credited Walt "bar sheet.” This often was called the "dope sheet
with making an outstanding contribution to the music since it eventually contained at! the dope on belli:
of his time—possibly the only real contribution of the music and the actions, but its essential purpose was
twentieth centuryP The effect of absolutely everything lay out the bars of music in long boxes that could I
being related to the musical beat became so well viewed together. On these were the tempos of il
developed that, in the musical world. "Mickeymous- songs, written in terms of the number of frames betwet
ing” became the name for music that accented or each beat, and a notation of the start of the musk
echoed every action on the screen. As a way of scoring, which part was verse and which chorus, any reped
it was not limited to cartoons, but also was used with that might be used. and where the music might sia
good effect in such pictures as King Kong, matching into a second song. Everything was penciled into dies
the huge ape's ascent of the Empire State Building boxes, even the location of sound effects and wordso
with dramatic progression in the orchestration. dialogue.
If this close integration of music and action had Along with this was written information about ii:
been a headache to the musicians, it was equally .scenes, the starts and cuts and the pattern of actioat
demanding for the animators, forcing them to become With all the information in one location, il wastasvh
more crisp in their thinking and belter organized in see how any change on one part would affect an;. <j
their statements. They always had been required lo get the other parts, and corrections could be made quin
across the story points in the least amount of time, hut simply—on paper. Disaster followed when somem
forgot lo correct the animator's exposure sheeted
notify the cutter, or made any revision without id/:
everyone concerned, but that sort of confusionw
 spoiled- There were no 3-12 measures here* and con¬ entirely in pantomime. 11 was a rare combination,
siderably more work was required to find actions that reflecting still another use of music as language. As
fit the music, told the story, and still built a personal^ one producer said, “Who else would lake a band con¬
ly A move that was right, visually, would seldom cert out of Walt s boyhood* mix in ‘William Tell' and
match the sound on the track at that point, and the ‘Turkey in the Straw* and a Kansas cyclone, and
animators had to become more like choreographers, come out with a performance that would enchant
trying to build a unified statement in movement rich in Toscanini?* 1’4 (Typical of Wall, he did not stop there
emotional content and with a cohesive flow—all within but began thinking of an even bigger use of the same
the confines of an established score. The visual mate¬ principle. He called that one Fantasia.)
rial could not be choppy or fragmented; it had to have In addition to the stories that called for spirited
the >ame unity as the music. music* there were sequences that called for a mood to
In those first symphonies, the actions had been sim¬ be established by a special theme. In many instances,
ple, staying with dance steps and runs that easily could the feeling of this score would influence any further
be made to follow the beat of (he music. But with development to such an extern that it was decided to
Walt’s insistence on humor and personality* the films record the sound first and work to its limitations. There
hiitt quickly into stories that demanded the acting is a special feeling in work that is done this way that is
match the tempo* too. This reached a peak in 1935 not found in other methods* but it is more expensive
with The Hand Concert, which combined well-known because of the demands it makes in all the creative
music with strong personalities and a situation played departments.

m normal in those days A bar is thus 24X long.

jyk j*’ jii ■ffi. .

IfeuraJi a line of music . . . MS-i

Now we added the scene starts and cuts, noting how

j,. j ti r r rr many frames before a bar, or after a bar it might be. If

a scene were shifted* it was erased and put in its new
location.

<£
polite notes and the staff lines, leaving this, which /2 * fr* PJUf*A *»ir H "~C.M C'-TT.

fj i «>"
H
tes the bars, or measures, of the song.
N£V_
1_1 I toft.
J_
Next came the action, timed to the beat of a metro¬
nome, then written on the bar sheet, relating the action
to the beats. Now-' w-'e knew just how many bars were
a- called a bar sheet, needed for each bit of business.

f'lMl- injtf iW
*J f* __- •4*
ling to the metronome we determined the tempo >
..-■
,--'■^55* - ***<4
*
M

-wT'-* m ^
J. and that decision gave us the number of frames j

fetftbeat: 8s. 9s, I Os* 16s, whatever. The structure L. a ter, dialogue was added, showing where the lake
::L tong determined the number of beats to the bar* started and ended. Location of sound effects were
E4,or6, The more sophisticated rhythms were not noted, loo, (There is still no music suggested, just
i con&ideied- (he beats,)

:wrote up a song's musical beats like this. In Ibis

tyle. there are two beats of 12 frames to each bar.
Timing, Spacing, and the Metronome
The action in a scene with me. Doc. I've been
was planned by the anima¬ walking on 13s."
tor and lire director at the W;ith the metronome run¬
time of the handout. If ning, the moves were test¬
there w as mu sic, (here ed; how long does the char¬
would be either a prescored acter walk, how many steps
track or a tempo set bv the does he take, when does he
musician that could be stop, how long is he held?
marked on the exposure It was all noted on She ex¬
sheet. When a metronome posure sheet, corrected, al¬
was set to that tempo, those tered . and tried still another
written beats became audi¬ way, until the very best
ble , giving a good indica¬ pal tern of action had been
tion of the amount of time found, M was called, "Find¬
for the action of the scene. ing the quickest way to do
If there was no sound to the most,''
use as a guide, the metro¬ To conceive of a series
nome was the only way to of actions that would put
determine the length ot over the story point, keep
any of the action. the personality of the char¬
A setting of 12s (twice a acter, and be imaginative
second) was usually used, enough to be entertaining
which meant that a beat was a big assignment. To
came every112 frames. This do it all within the limits of
just happens to he the the allotted footage, with a
tempo of ail marchesp and feeling of accents to match
offers a good alternative tlie beat and gestures lhat
The inspirational sketch by Met Shaw rhat suggested the scene.
when no metronome is gave sync and rhythm, took
handy. Whistle any wdl- more lhan mere drawing
known inarch until the ability, EXAMPLE #1. In this scene from The ing feeling—in contrast
rhyibni is well established A visitor walking through Fox and the Hound, there the busy action of ihe ru
in your mind, tap your foot the halls would hear the The scene with no sound had to be ihe spirited feel¬ Again going to the men
and have a friend count the scattered ticks and locks track for a guide. ing of two kids in the old nome, the animator test
taps as you act out the coming from several moms swimming hole. The ani¬ different types of Icaj
scene. You will not be more at the same time, as the Scene description; Animals mator decided to start the with the one (hat look ti
than a frame off. Malt Kah! animators listened and playing; fox in water; scene with the fox alone in
once proclaimed in a lec¬ acted, considered and hound dives in. splashing the water, then bring ihe Charting the action rri fj
ture, "Everyone walks on timed. That metronome water all over his friend. hound in on the ninth frame. manner on the expose
12s—unless there's some¬ was a stern, unrelenling Listening to the metro¬ sheets gave the animatm
thing wrong with them!" l ask master, but it was re¬ Tempo; Set metronome on nome, he determined that chance to see she retain
Walt Stanch fie Id irnmedi- sponsible for packing more 12 beat. the dog should run for 16 ship of ait she moves ini
aicly drew a sketch of a man entertainment into small frames before he jumped. scene as welt as theprve
at the doctor's office say¬ amounts of footage than Footage: Undetermined, For the dive, the pup should number of frames r<>
ing. "Something's wrong any other procedure, but keep brisk and busy. have a big leap with a float¬ used in any action.

The bouncing ball has only one

frame of contact with the ground.
*
a- A man landing and jumping contacts the
a_, ,
ground for six to eight frames.
a a
<ft V
V
-f

o a SID,
'■■S.
jrd*£
j &
f

o c y
/£'
f£
I .

These twelve frames can he written on the Charted on the exposure sheet,
exposure sheet in she form of a chart t like this: it looks tike this:
 /

The animator makes a

chari showing where she
pup j- haul Witt he on each
of she drawings in she run
and jump.

kalsh 24 rmoieK-, he i rig the 16 equal spaces, l-ach of specific action. The steps
kst. This wsis charted on these became (he position that sound so mechanical
(beexposure sheet. with [he of the pup's head as he in writing wjj] till stimulate
S frames, Hank at the start,, progressed on his run. To his imagination, and in¬
ju>ing I 6 frames for the keep this run lively, an 8 crease both the fun of doing
sptesh, and another 8 frames frame gallop was chosen, the scene and the probabil¬
at the end to see the picture w hich gave the pup a hap¬ ity that it will come out on
of (he fox drenched, but py, bouncing movement as the screen just the way he
laughing. The whole scene he entered. With confi¬ has visualized it.
came to 4 feet fra mcs. or dence in the timing and the
seconds. path of action, all of [he A closer shot of the ac¬
The layout was checked animator’s energies could tion of the fox and hound
lo sec if there was enough now be concentrated on playing in the water. With
room for [he pap to run for making drawings of a play- no solid surface beneath
16 frames from the field Ittl pup in a mischievous their feet, perspective be-
border to the edge of the mood. eomes important as the
water- then drawings were When the procedure is only means of establishing
made of the size of the dog written down step by step Hie level of the water. A
and his attitude throughout this way. it seems like an grid is drawn to remind the
the net inn. All that re¬ involved and tedious pro- animator of [he drawing
mained was to determine cess, but actually it takes restrictions as he bobs the
the spacing, how far he only a matter of minutes. characters up anti down to
would move on each draw* The big advantage is that it give the feeling of being in
ingi and (his Was a simple gives the animator a chance water. The timing of the
matter of taking [he dis¬ to think about his scene, actions, which are matched
tance from the first draw¬ play with the ideas, and to this perspective, is the
ing to the spot where he turn it all over in his mind only way of achieving this
jumped, and dividing it into before he is committed to a illusion.

HW Pluto was sniffing, his nose his the extreme

up mt down positions on every other frame.
The exposure sheet with she
action notes for she ran, she
Q$ Or**
3 - s
o--f -I jump, and the splash.
f

On the exposure sheet, the chart looked tike this:

 ■ tv x; ■= ,v ...
■< - > ■ . !. 7
v ■."■
f■ 'i V L ’ ?'* - JAC
c ;\ ? ' F-'_: > V
V is'"
&

b:- *?

EXAMPLE #1. out and consider the big the doorstep, but not so
elements of the scene. Set¬ long that the tempo is
Working to music in an ting the metronome on a 14 spoiled. As the door is
established tempo. beat, we try to visualize the opened, the pig anticipates
type of action that will be lor a meager 7 frames, dives
Scent description: First lit¬ best for this situation. Wc for the mat* and grabs it on
tle pig runs into his straw want to see the pig strug¬ the next beat, then pulls it
house, shuns door. Wel¬ gle excitedly and skid on in very last. The ensuing
come mat is in front of the comer as he attempts door slam could come on
d*tor. He opens door, pulls to reach the door. (This (he downbeat of Measure
in mat, slants door again. gives the audience a chance 157. Acting all of this out
to share his emotions, and to the ticks of the metro¬
Tempo: two I4s+ or 7 frames the musician an opportunity nome shows that this pat¬
per beat. to support the action.) The tern is possible. It is fast,
best accent musically for but allows time to see every¬
Footage; 6 feet 10 frames. him to dash into the house th ing—the excited face* the
would be on Measure 155, reach, and the grabbing of
First, wc determine the with the door slam coming the mat—and still leaves a
main accents we want to 7 frames later on the up¬ picture for Ji frames before
catch in the action. They beat. the cut Adding sketches of
are: The next big accent, for the positions of the little pig
1. Going through the door, the opening of the door, throughout the action helps
2. Slamming the door. comes on Measure 156, to prove out the planning.
3. Opening The door. just 21 frames after the The action will he brisk,
4. Pulling the mat in. door slam. The d*>or must but when it is charted on
5. Slamming the door again, be closed long enough to the exposure sheet it is all
Second, wc study the get the picture of the house clear anti looks interesting.
exposure sheet and the lay¬ with the welcome mat at It is time to start animating.
 The whole sec lion of Snow White that showed the
music The Silly Symphonies had taught the staff the
heroine lying on her bier while her friends mourned
value of letting music speak its message uninterrupt¬
was Plannet* ltl a prescored organ [rack that set the ed, so the animators were well-prepared for an ex¬
knglh and the mood of anything that would be done
tremely difficult job: never enough time in the music
visually. No one tame out of the theater whistling that
to do what needed to be done in some sequences, and
song, but it was a great piece of rnusic and did more to
far too much time in areas lacking ideas in the first
choke up the spectators than is generally realized. The
place. The years oE training produced unsurpassed
number of scenes was carefully planned as well as scenes of deceptive simplicity,
their content, so that there would he no busy scenes,
Wyh had discovered very early how much the music
no fast moves, nothing that would contradict (he feel¬
could do to establish a mood and how much it aided in
ing in the music.
communication with the audience. Jt did not have to
The animator had to play this track over Eind over to
be a symphonic score or even a great piece of music,
maintain the riglu feeling in his drawings and his ac¬
as long as it contained the essential dement of com¬
tions," It was necessary [hat lie saturate himself with
municated feeling and was right for (hat spot in the
this spirit to capture a similar mood in the animat ion. picture,
Unfortunately, next door. Fred Spencer was trying to
C harlie Chaplin wrote of his own discoveries and
animate as much life and vitality as he could into [he
feelings: ’’Even in those early comedies I strove for a
dwarfs as (bey sang and danced for Snow White in the
mood; usually music created it. An old song called
Entertainment Sequence, As the dreary organ tones of
Mrs. Grundy created the mood for The Immigrant.
the mourning section seeped (hrough [he walls, Fred
The tune had a wistful tenderness that suggested two
lumetl up the volume on his record of the yodeling and
lonely derelicts getting married on a doleful, rainy
singing. This quickly enlivened the funeral next door, day."6
destroying hours of getting into just the right mood.
Wall had a similar kind of reaction to the emotion
There was pounding on the wall from both sides and
suggested by music, and while he did not pretend to
fierce shouts of, ( nt out that sad stuff!"' answered
know how it was constructed or how it worked he
by Stop that dancing in there!!"1
always knew just the feeling he wanted it to give.
During the making of 5/iove White f a sequence had
Prescoring been planned showing the dwarfs assembled in the
woods outside their cottage. They were trying to think
In Fanui.'iia, most of the music was ‘"free tempo’"
of a present they could make for the girl who had
and did not adhere to a strict beat, which created awk¬
ward conditions for ihe use of the bar sheets. With one come to stay with them, and as they thought a musical
bar being 42 frames and the next 4? and (he next 45, vamp gave the feeling (hat something was about to
thure was no way ol gening a consistent measurement happen One by one they would have an idea, leap up,
for a chart. Instead, (he (racks were ’"read"" by the make their announcement, have it rejected, then wilt
cullers, ihe same as (hey read the dialogue tracks, back into despondency, and more thought. Walt wanted
writing the notations on Ihe 1"greys." the music to echo their attitudes, and his reactions to
Measure numbers were written on the sheets, along the proposed score is typical of his feelings about the
lV|(h special accents and any other placements the direc¬ music in every picture: "’Right now you have loo much
tor or animator might need. Action notes were written
sharpness and "boom-boom" of the piano. When one
on the greys beside the music reading. In this ease, bar
of the guys gets an idea, the key should change When
sliceis were kepi more as a record than a working
he lifts up the music goes with him, and when he sits
procedure.
down the music should go down. ... I don’t like the
idea of the music jumping at you. I see it lifting up
The ultimate in working to a prescored track was
with them. . . , As each guy who thinks he has a rare
Fantasia, and many extra story meetings were held to
idea is voted down, the music goes right into (he wilt
find ihe best activities to show during all parts of the down. . . "
 Music Not Prescored Surprise Accents
Most animation on the features was not done to a t he audience feels comfortable when led to believe
prescored track, and with ihe emphasis on acting and that certain things will happen and in fact they do. The
mood (he scenes were better supported by a free tempo character walks in rhythm with the music; he accents
type of music than by the rigid beat, in those eases, his movements on the beat; it feels right The opposite
(he musician would ask for a dummy score to he made must be true of the surprise gag, the unusual, the
up showing him what he had to match and where startling. These accents should come on the off beat,
things happened. A music cheek was made of the the up beat, somewhere in the middle of the measure,
whole section with all ihe accents, the footsteps, jumps, where they are least expected. 7"he audience is Jed to
staggers, displays of emotion, or strong looks. Foot- anticipate one thing, and the continued accents nn the
ages were marked for each of these, the same as on the downbeat fortify this sense of security. To be a sur¬
bar sheets, hut the choice of how to tie all of them
prise, the sound must come at a totally unexpected
together was left up to the composer. If they happened place in the music.
to lall in rhythmic patterns, he could use a fixed, tempo
if he chose, or he coutd do it all to a free beat.
Walt also suggested there might be feelings of disso¬
Jim Macdonald devised an interesting way of mak¬
nance in the harmony* for the sake of comedy, ami to
ing a precise guide for the musician with this problem.
On a red of blank film, he punched out holes that show that there was no agreemenl in this group. With¬
would make clicks and pops W‘hen the film was rim on out just the riglil feeling in the music, he thought the
the sound head. These sounds were timed exactly to whole idea ot the sequence was ordinary and not worth
the action on the film, so the musician could hear doing. He commented at the end of the meeting, “Iti*
where these accents came while writing a score to important that we work out a good musical pattern on
match. this or else we had better give up the idea and try ie>

The public continued to enjoy seeing cartoon char¬ work it out in some other way. [he sequence even¬
acters move in close relation to music; there was some¬ tually was eul out of the picture.
thing fascinating about it and something that felt right Walt was just as critical of the songs thal were
lo lhem. However, it had to be done tastefully* with suggested for the characters to sing. One musician
more nuances and surprises, carefully avoiding the reported that Walt could get his ideas across almost
choppiness and *'ricky-lick" sound of the early car¬ without using words* because his criticism was always
toons,
in terms of the feeling he wanted. He knew tlM a
merely pretty song with a nice melody would soon

v
become ordinary and drag his picture down. The song wrote it is standing hy to help decide just what those
hud lo have a freshness and a vitality and something changes should be and where in the score they should
extra before he would accept it. if it did not make him come. He is not beaten down by what seems like daily
fed the way he wanted the audience to feel, he would trivia, but is available when help is needed; and hav¬
a^k the composer to try again. ing made his initial statement of how he believes the
As he started work on Fantasia. he was very honest music should be, he exerts more influence than when
about his lack of musical knowledge* and it did not he tried to do instant composing in the room with the
worry him in the least that his reactions were those of director.
the man in the street, Leopold Stokowski was im¬ The best music was achieved when it could spring¬
mensely helpful and spent some time explaining the board from the hours of thought and refinement that
construction of a musical number and the relation of had gone into the story development and acting. If a
the form to the reaction of the listener. I le concluded, sequence is welt balanced, builds properly, has life,
’If our picturization is contrary to (he music, it will good textures, and a flow , the musician has a much
confuse the public; if it is in form, it will be dear and better chance of writing a superior score than if the
pleasing and they will enjoy it,” picture is dull, lifeless* and spotty. Even the grandest
Walt's response was loss erudite. ”There are things score will seem unimpressive under those conditions.
in that music that the general public w ill not under¬ With a smaller crew and extended schedules for the
stand until they see things on the screen representing pictures in the sixties and seventies* it was no longer
thiii music Then they will feel the depth in the music. possible to keep a musician on full time, so we shared
Our object is to reach the very people who have walked one with the live action units, George Bruns worked
onion this Toccata anti h'ugue1 because they didn’t equally well in either medium* writing "Davy
understand it. 1 am one of those people; but when 1 Crockett” for the live TV show ai the same time he
understand it, 1 like it!” was adapting Tchaikovsky 's ballet score for Steeping
Inevitably as the work progresses on any sequence Beauty to our animated version of that classic fairy
new ideas pop up, and surprisingly often these ideas tale. George was big and easy-going, but he worked
actually will strengthen the music, since they sharpen very hard and produced a seemingly endless string of
the definition and emphasize exactly what the com¬ fresh melodies and haunting scores.
poser is saying. If truly creative people are involved, He did temp tracks, prescored some selections*
the musician is quick to realize (he improvements and orchestrated songs, jumped over to the live action
eager to adapt his score if that is still possible. The shows, then back to consult on the best musical treat¬
happiest solution to all of this was the "temp (tempo- ment for the next sequence in the cartoon. When there
rajy> tracks’ ’ that were used so extensively throughout was more to do than he could handle, he suggested
(he thirties, forties, and fifties. that we find a piece of music from an earlier picture
In concept, the musician would record his ideas in a and "track” our picture with that. It enabled us to find
purely temporary form as a guide for all the produc¬ just the mood we wanted, the tempos and phrasing to
tion that would follow. In some eases, a small orches¬ support our action* and kept us from wearing him out
tra was brought in and the work so carefully planned w ith too many changes.
that the result could be used for production—if desired. When the lime came to write the final score, George
In ethers, the studio composer would play his score on was fresh and enthusiastic, suggesting more effective
the piano or organ. ways to present our concepts, and writing lovely new
The advantage of this early test recording is obvi¬ ballads in the same tempo and feeling as the ones we
ous. h presents a strong musical concept that is had used for our “Tracking.”
stimulating and inspiring. As the director and anima¬ All of our feature cartoons took anywhere from (wo
tors develop the graphics, (hey are guided but not to live years to complete; so no matter what the
restricted by this track. Being temporary, the music involvement of the musician during the formative peri¬
can be changed and new ideas tried; the man who od* there was still much to be done in the final days.
Sound effects were a wry
mportant part of the musi¬
cal score, requiring musi¬
cians with unique talents—
nost were percussionists
vir/f stage bands. Here,
Frank Churchill conducts
ts Walt listens (lower left),
Ml Garity balances the
wund (right foreground),
mil Wilfred Jackson foi-
ows the score in his dope
HK>k.

Invariably there were many surprises and changes from to make the mice strain and heave and use every hit of
those first excited plans. The director has gone through their strength when they pushed against that diamond,
the reels with the musician hour after hour, discussing, but this—this exhausts me!"7
planning, changing, humming; hut he is never sure Such effects are not evident in a piano (rack or cure
(hat the musician understands what is wanted, and the when played with a couple of instruments on a i»
musician has an even more difficult time getting his track. It takes the full voicing of the orchestra to bring;
own ideas across since the language of music is not the music to life, and until that lime the director must
something the director understands. Sometimes the go on faith that the score will fulfill his hopes atjl
music will lack (he magic anticipated, and whole sec¬ dreams. 1 here is no way a single musician with only a
tions of the film will seem to fall short of what they smalt piano and an enthusiastic voice can convey ilte
might have been- hut just as often, everyone will be feeling or spirit that will come from the same notes
"he composers of “When startled by how much more powerful and intense the played on all the instruments. This is unfortunate, since
'on Wish Upon a Star." actions have become when fortified with the music. twenty’five musicians sitting on the stage awaitinj
rj caricatured by T. Hee.
We had worked hard on The Rescuers, trying to instructions have an uncomfortable effect on a direct
Musician Leigh Harline. at
he piano, ami lyricist \red make the mice seem very small and inadequate to the tor's judgment of revisions when the first rehcana
Washington, on hended task facing them, hut the confidence and spirit in the reveals a different feeling m the music than had bee
nee, selling the song, voices seemed to dispel any concern we could develop anticipated.
for them. When Artie Butter wrote the music, he felt All the other functions in the making of a film are
the predicament of the mice acutely and wrote music bail? through constant testing and correcting and keep]
that immediately made their (ask enormous, while ing the best relationship to the whole, and in tlie he-j li¬
somehow keeping them virtually helpless When they ning music was done the same way. Fur over fony
tried to move the huge diamond from its hiding place, years, great scores have continued (o bring new life 10
the score added a good one hundred pounds to the the studio's most popular films, even though the tern
weight of the gem. The animator exclaimed. lLi tried tuques of matching sound to picture have changed so
completely. It encourages one to believe clmt there still to a cricket with a gentle personality as well as setting
arc many more ways, exciting ways, inspiring ways, a mood for the whole picture to follow. The next song*
lo meld music and picture together. “Little Wooden Head,"captured the spirit of Ceppetto
and gave us a chance to introduce the wooden puppet
Songs in his lifeless state. Without that song with the melody
that seemed to tit an old-wrorld music box* the sequence
When there were songs in a picture in addition to of introducing the puppet to the other residents of the
the musical score, they were written and recorded very toy shop would have been lull of dialogue, contrived
early, so they could be integrated carefully into the gags, and lengthy business. With a song that fit the
story development Walt was adamant about songs situation* u was full of melody and fun, and did much
lhai stopped (he flow of the story while some singer to show the audience how this woodearver lived.
demonstrated his prowess, and he insisted that the Once the song was recorded, the story man could
only use for a song would be to pick up the tempo of start precise work on his storyboard, adapting the gen¬
the story and to tell it in another way, while adding to eral ideas to the mood and measures of the music* or
(he emotional content of the sequence. A good song suggesting changes that might help both picture and
should make the audience feet more deeply about the song. With only a demo track, changes could be tried
situ at ion. and the structure of the music altered to fit the growing
Once a song had been accepted from the composer, needs of the storyboard. In some cases, the vocal would
a "demo" record was made approximating the length remain, but if it has been recorded on a separate track,
and structure being considered. The vocal might be on changes in the rest of the music would have no effect
a production track (one that could be used in the final), on it anyway. Now, when the board looks promising*
but it would be far better on a temp (rack, with the and the length of the song feels right, the sketches can
accompaniment only a piano or small group that could he shot and added to the story sketch reel Once more
be replaced later when all final decisions have been they are changed and shifted* redrawn and re shot, until
made. In the recording business, when a vocalist is everything has the proper flow. There still will be
recorded, the song itself and the singer’s style will improvements later on. as new ideas keep coming, hut
dictate the number of choruses and the right arrange* for the most part* they will be only touches that add
went for that number. In a film, the structure must be spirit and character to the performance. Animating to
dictated In the needs of the story. Bill Peet once music is difficult and expensive and n is wise to know
cautioned a composer who wanted to control the pre¬ exactly what is wanted before anyone starts.
sentation of his melody: "You're better off writing to
the material in the picture, because your sosig will end
up being more unique. Instead of writing what you
Sound Effects
think is good and asking for the picture to adapt to it. Funny sounds always have been an integral part of
remember that the cartoon material has been worked cartoons It is almost impossible to think of the early
over and over: it has more thought, depth, and enter¬ I thus without the slide whistle, ratchet* pop-gun. xylo¬
tainment in it than you realize. You’d better use it!" phone, and bells. These had all been written in as pan
OTcourse, it is possible to write such special material of the score and were not recorded until everything on
fau song that it becomes little more than a novelty, the picture was completed. The animation had been
but il it works well for the picture and progresses the done to a specific beat, the actions were all marked on
story situation, it still will have great value. the score itself, and four or five percussion men were
A song that catches the exact mood of the sequence now brought in with the orchestra to record the whole
jikIexpresses it in a fresh and memorable way will do picture in one long, complete take of everything that
uunders for the film, and for (he composer, too. Leigh would be on the sound track.
Hacline and Ned Washington’s lovely "When You As technical knowledge advanced, it became possi¬
Wish Upon a Star L served double duly, introducing us ble to do the different parts of the sound separately and
combine them onto one track at a later date. Now if tracks as a good track inspired better business, which,
someone hit a wrong gong or scraped his sandpaper in turn, built an even better track. No department was
block once too often, the whole seven-minute take did free of Walt’s constant building and improving. Any
not have to be done over. But a larger advantage was new idea had to be tried out before a decision could be
that now (he way was open lo experiment. The music made about its actual value, and this led to test tracks
could be recorded in separate takes called "cues*" the and test recording and test music.
voices could be done over and over until just the right No studio could afford to bring in specialists every
in fleet ion was captured, and the sound effects could time there was a new idea to try, so members of (he
he recorded individually, speeded up, run backward, staff who were particularly inventive and creative—
or built out of two or three separate parts. along with their other talents—were asked to do the
For Three Little Waives* in 1936, (he sound effects experimenting- If it had to do with music or sound, it
men had to gel the juicy impact of a ripe tomato hitting was usually someone from, the sound effects depart¬
the big, bad wolf in the face. A wet washcloth had too ment, and most often Jim Macdonald.
much impact, a spoonful of grease was too wet, and a With considerable ingenuity and a great deal of blow¬
cup of water had too much splatter. The sound finally ing and accompanying dizziness, a track had been
was achieved by combining the three best sounds over recorded for the organ that Grumpy played in the
the blatant sound of the "razzberry," the impertinent dwarfs’ house. It was only a first test, bat it involved
noise maker made of two loose pieces of rubber. None everyone in the studio who could read music, plus a
by itself sounded anything like a tomato, hut together handful of competent musicians and all the sound
they had the feeling needed to match the action. effects men, some thirty of us in all, blowing on bot¬
As Jim Macdonald says, 4'The sound man must tles and jugs and strange homemade instruments. The
think about what the sound is going to do for the most demanding part was for the man who blew over
picture—not just how it ought to sound . ” Jim was the the giant jug for (he lowest bass notes. That part had
most creative and dedicated of all the sound men, gone to Jim. When Walt heard the track he exclaimed,
staying at the studio for some forty-two years, (hen "Yeah! That's a happy song , , , a happy group! Some¬
continuing to come in for sound effects sessions after body should be yodeling.” and he turned, to look at
that well into his seventies. Originally brought in as a Jim, "Why don’t you get down on the stage and try 10
drummer to handle some of the sounds for those early yodel?" As Jim said, ”1 had never y ode led in my
cartoons, he was offered a steady job because of his whole life, but when Wall said, 'Yodel V you yodeled"
i magi nation and sense of entertainment. He says that And yodel he did. over and over, for a couple of
the sound effects man must "feel” the effect, even as years while they built the track into a happy sequence
he makes Ehe sound, and in support of this philosophy with just the right amount of singing and playing aid
threw himself violently into everything he did, from fun, When everything was finally approved, a profes¬
pounding on a door to choking himself with the hic¬ sional group of yodelers was called in to give (he
cups. Being a musician he saw to it that the sounds ringing, authentic sound, but the structure and the
always fit properly into the score, and being an en¬ length had been worked out by amateur yodcler Jim
tertainer he made sure the sound was the best that Macdonald. He commented, ”| was always doing
could be gotten for that spot. Good sound effects will voices for actions where they didn't want the a^ior \o
add life and excitement to a film, whereas drab, ordi¬ hurt his voice—grunts, strains, screams, gasping ,. ,M I
nary sounds will quickly drain what life there might be In Ahstocatx there was a scene of the alley cat
in the action. O’Malley nearly drowning in the river. Phi] Hums
There were always changes in the ideas and the played the part and was not only willing to do any¬
material as a picture developed; hut when the studio thing we needed, but invariably found a way to make it
embarked on the feature cartoon, the period for this all the more entertaining. Still, drowning did not scon
experimentation stretched to three years or more. This to he a suitable application of his talents. We had thd
meant (hat there would be endless changes in the sound some miscellaneous gasps and coughs he had done 1 or
 berate it, or lake out the lows, or speed it upN or
combine it with other sounds. When the day comes
that the director is down on the stage to record, the
sound effects man must be ready. It is (hen too late to
experiment.
Every sound that is recorded eventually goes to the
Sound Effects Library for use in other pictures. Over
the years this enormous collection has been built into a
treasure house of nearly every sound in the world—
except the one, special, elusive sound that you want.
There are fifty different coughs, whistles, footsteps,
creaks, and foghorns, and these are widely used to
build the test tracks, but when the picture is finally all
put together, there is always a long list of needed
sounds that should be done a little differently for this
particular picture.
If the sound is part of a story idea or related to a
character, it is always recorded early, so the animator
u$ as we built our continuity and business to its cli¬ can work to it, rather than trying to til it in later. As
max. but then we called upon Jim. After looking at the the idea for the exhausted dragonfly in The Rescuers
film he recommended that he do it all in one take as he was developing, Jim was lold of the problem and
watched the film on the screen, rather than in separate immediately started searching lor things he could use.
pieces as he usually did. He brought out a big tub, A power saw with its varied whines anti straining noises
tilled it with water, and then with the mike in place seemed like an obvious choice because it sounds so
and his chin half submerged, fixed his eyes on the determined and desperate, but it did not prove as
screen and gave the order to roll the til in. lie not only flexible as a Eiltle creation of brass tubing and an air
matched the action precisely, but inhaled at least as hose combined with a rubber membrane over a kind of
much water as (he cat in the picture, and ended up just drum that Jim could play like a musical instrument. It
atniul as nearly drowned. was when Jim added the panting and wheezing on the
Jim had a woodworking shop in his garage and end of the buzzing sounds that the character of Evinrude
would spend hours building gadgets that might make finally leapt to life, That sense of entertainment in
sounds for special sections of the pictures. When work commonplace sounds is a very special talent.
was beginning on The Old Mill be saw- that there would It is the assistant director's job to build his tracks
he a need for many different kinds of creaks as old, and keep them in sync and growing to match the needs
rotting parts of the structure would turn. He conceived of the picture. So it falls to him to rummage through
Ltf an elaborate contraption of drum heads, string and the sound effects library for the most appropriate sounds
buttons and supports, and a wheel for tightening it all, he can find, and. also, to decide just how many he
figuring that with a bit of rosin and a bow he should be should put in. Too few can make the film sound spot¬
able to gel some exceptional groans. What he got was ty, too many can make it sound ridiculous.
a perfect foghorn! So he recorded that, which is still At the start of the war in 1941, Ward Kimball and
the one used today, and returned to his shop to start a Fred Moore were animating a long, involved scene of
new idea, It is very important that the effects man a small soldier going through all the things a soldier is
have enough time to think and play around w ilh ideas if trained to do—drilling, manual of arms, saluting—
the sound is to be at all unusual, or just right for the everything except making his bed and KP. There was
picture. Many times it is necessary to run the recorded an eager assistant director at the time who was just
track through some of the sound equipment, to rever¬ waiting for his big chance to show what he could do.
Fhe suggestion was made that the scene would gel over in his mind for several days. It should he like a
over better even in its rough slate if it had a lew sound wind chime, he thought, soft and delicate, without the
effects. Ward and Fred cautioned the assistant that if impact of glass hitting glass; it had to he something
(he effects were too real the scene would he dull, else.
while if they were too exotic it would become silly and Jim found his answer in some pieces of duraluminum
lose its strength, But the right sounds, carefully cho¬ left over from a new- panel installed in the sound
sen, would give a sprightly character to the whole department. He cut the material into small pieces and
thing. suspended them from a plywood frame, and when he
Three hours later (he beaming assistant returned with shook the whole thing an amazingly light and shim¬
Ik film and put it on the Moviola with the sound track mering sound came forth. Walt liked it so well that he
be had concocted beside it. On the opening frame of asked Jim to tune it chromatically so that a glissando
the scene, Ihere was a ratchet sound as the soldier’s could be played, or maybe even a tune. It was never
arm came up in a salute, followed by a "'ping!'’ from enough to give Walt what he asked for. That always
a tiny bell as (he fingers touched the forehead. This stimulated him to even more elusive, but undeniably
was followed by “sproings." wheezes, thuds, claps, better, ideas, and especially ideas thai never would
squeaks, one after the other, accenting every last little have l>een thought of in the beginning.
move [he animated character made. Fred and Ward One of Jim’s greatest accomplishments was the
looked at each other in amazement, back to the film, sound for a giant magnet. This actually was intended
back to each other, then broke into convulsive laugh¬ for a ride at Walt Disney World, but Marc Davis, who
ter. They fell to the floor and could no longer see the had helped develop the ride, knew from his years of
film, but the parade of unlikely sounds continued on anitnation training that the key factor in making the
and on. popping and bleeping, like something gone whole idea work was to have just the right sound. He
mad. The longer il went, the funnier it got, and once called Jim out of retirement to find it. The fascinating
Fred and Ward had started to laugh, there was no thing is that Jim went right to objects that make no
slopping. sound! That is, no sound the human ear can detect. A
The assistant's beaming look of anticipation had heavy-duty soldering iron operating on 60 cycles held
bug since dropped to a more defiant attitude, then to a close to the microphone gave off a very low. rhythmic
grim set of determination. He stared doggedly at the hum. A dc-magnetizer used for taking static electricity
film clacking through the Moviola, intent on seeing out of scissors before cutting tape gave off another
his masterpiece through to the end no matter what. sound that barely could be recorded, and. finally, Jim
Then he quietly turned off the machine, look off the got a large cymbal and gently brushed a tiny piece of
film, walked out of the room with his track under his cotton against the edge. No sound could be delected
ami without uttering a word. The gales of laughter had on the stage, but the tape machine was picking up
naturally attracted everyone else in that wing of the strange vibrations. These three sounds were taken to
building, and now curious heads were thrusting into the dubbing panel in the theater, where the tracks were
the room. Not realizing the source of the humor, they mixed and switched and altered, and raised in volume
let the assistant walk right past them, and (hat very until the sound could be heard by human ears. It was a
special track disappeared forever. slow, pulsing, indefinable sound, and it started to make
Occasionally the sound effects man is asked to come everyone there sick. As they bolted for the door, the
up with a sound for something that cannot possibly annoyed technicians yelled back at Jim, “You can’t
make a sound, of its own: for instance, the sound of a put that in Disney WorldVr
spider weh shimmering with dew . Walt insisted that But Jim continued to play with his sounds, feeling
there should be a special sound, and though he could like a mad inventor, until he had them at the provoca¬
not describe it exactly he gave the impression that tive stage just short of producing illness and just past
everybody knew what it should be. Jim Macdonald recognition of it as sound at all. It was more of a
v,as given the assignment at that point and turned it feeling, and it felt like a magnet should sound!
The principle of the multi¬
plane camera is shown in
lhe.se two photos; the iifir
of the country Itme leading
hack to the farmhouse in
the distance is actually
made up of four different
levels of art work.
12. The Follow-up Functions
"No ow person can fake credit for the success of a motion picture. It's strictly a team effort. From the time the
story is written to the time the final release print comes off the printer, hundreds of people are involved—each one
doing o job—each job contributing to the final product, Walt Disney

VVilh the writing of the music, the last truly creative cized. questioned, and sent to take care of things.
function has been completed. Some members of the His job was easy when the picture slowly was tak¬
staff already have new assignments and are excitedly ing shape in the Story Department, the director was
exploring the next project, but there still are several testing voices, and the experimental animation was
crucial jobs to be done and decisions to he made that being done. Not much money was being spenl. but the
greatly affect the final appearance of the picture. creative process is impossible to control anyway. How¬
Usually all the money budgeted for the film has been ever, once the work has been passed by the animators
spent, and the big push is to ”get it out” in the quickest to their assistants, drawings can be counted, deadlines
way possible; yet too many compromises at this stage imposed, schedules arranged, and work organized.
could destroy much of the value of the work already The picture is in full production at this point, and
done. Fortunately, there are still dedicated people left suddenly everything is going at once and in all direc¬
who will see that this does not happen tions, There is not enough time in any day to cheek
The scenes must be checked over and over to be even half of it. especially if the crew is behind sched¬
sure that all parts work correctly. The artwork must be ule and working overtime to meet a deadline—which,
photographed by the Camera Department, all the dif¬ somehow, nearly always happens. Nothing seems to
ferent sound tracks must be combined onto one track, be coming out quite the way it was planned, and no
and then the lab must face the impossible task of get¬ one really knows why. Everything conceivable for
ting the colors on the film to look the same as they keeping production moving has been tried at one time
were painted. While these jobs are not glamorous, or another, but a sense of devotion to the product
they arc vital in averting the seemingly endless siring brings the best results. Nevertheless, ihc Production
of one process or another always going wrong. Franti¬ Manager will tell you that too much devotion can cost
cally trying to control these processes anti keep the too much money, too!
picture moving is the Production Manager.
Someone has to assume the responsibility for seeing Checking
that there are no bottlenecks, that scenes move through
the organization smoothly, that directives are being One of the best ways to keep work flowing smoothly
carried out, that costs are held to a minimum, and that is to have each scene checked carefully before it moves
the producer understands why the project is not being on to the next department. Once the animation is com¬
completed on schedule, h does not have to fall to one pleted. it should be cheeked for technical problems.
individual. It can be shared by a small group of over¬ The drawings may have worked wrdl in test camera,
worked artists with a special loyally to the whole pro¬ but someone has to adapt them to their final form on
duction However, it is the one person with the official the cels. Are the characters on the right levels to match
title.Production Manager who can be blamed, criti¬ the other scenes in the sequence? Should some of the
levels be combined? Will the pan moves and trucks make sure everything was on the cels and following
work smoothly? Is the action completed out to the through perfectly. Some of the amazingly complicated
field borders? Will ]t work under the camera? scenes from Fantasia even required a specialist in
Before we had checkers it was up to the cameraman checking, since the components were so involved and
to keep a dose watch on the drawings on his stand as interrelated that hardly anyone even knew what was
he was shooting, but that usually was too late. Typical supposed to happen.
of this situation was an incident on Mickey’s Kanga¬ Only certain individuals should be checkers. The job
roo, After shooting nearly half the scene, the camera¬ eat Is for a special personality makeup more than an ar¬
man noticed that Pluto was snarling as if he were tistic talent, and not everyone cun adapt to the de¬
guarding his dish, but in a peculiar way he was stand¬ mands, Complete concentration and an “eagle eye”
ing in it—though not quite in it. His foot covered part are needed hour after hour to ferret out the smallest
of the dish, hut it did not match the curve or the shape errors—but in the process a huge one should not go
of it. The dean-up man was called over to explain by unnoticed! The checker must be a detective, com¬
what was intended, and he immediately cried, “Some¬ pletely dedicated and above personal involvement
one has moved the dish! It's supposed to he over here Such individuals scarcely can be blamed for scream¬
right under Pluto’s teeth, not back where his foot is! + h ing, “ah-HAA-aa-a-a!!!" when they discover a mis¬
A call to the background man produced his copy of the take, hut that outburst does little to endear them to the
layout sketch and his notes on the scene. He was blame¬ person who made the error. No one docs sloppy work
less. on purpose, and somehow a distressing air of recrim¬
Another call; this lime to the layout man* who came ination seems to hover around a visit to the checker's
with yd his drawings to prove that the dish always had room. For some reason, the feeling is reminiscent of
been in the same place. Now the animator joined the being called to (he principal's office.
assembled group, and after more discussion he recalled
moving the dish so there would be room for Pluto to
run in and leap into this defensive position. He had
Blue Sketch
made a tracing of the location of the dish and marked New procedures were suggested constantly that would
it on his copy of the layout. It was surprising to him make the checker's job simpler and eliminate some of
that the layout man did not know about it. and he the expense created by needless errors. The “Blue
wondered why the final animation had not been checked Sketch'1 was one of the most practical.
before going ahead. One time a background painter wras given a layout
They all stared bleakly at the completed set-up on showing an ominous evening sky with the vague shapes
the camera stand. The eels then went back to the pro¬ of tree branches silhouetted against the clouds. The
duction rooms where adjustments were made until the color key that styled this sequence showed a greenish
scene worked properly, but much time was lost in all sky with an evil look. The background man was in¬
departments through mistakes that somehow slipped trigued. Here was a good-looking design, simple yet
past every body. Rather than establish blame it seemed dramatic, and an impressive painting could be made of
more important to prevent it from happening, so the this. He carefully worked out the lacy fingers of the
position of Checker was created. branches, the contrasting shapes and colors, with sub-
Very soon it was discovered that one checker was lie shading in the clouds. The whole thing was alive
not enough. In addition to the check for mechanics and would make anyone look twice. The only trouble
and technical problems, there had to be a check for was that the background painter had not checked to
missing detail, for clear instructions to the inkers, for see what action took place in the scene. It was actually
missing lines around color areas, for registry of one a close-up of a large and formidable character who
character to another or to an object on the background. blotted out all the trees and most of the sky—only bits
In Ink and Paint they needed additional checking before of painting around the edges showed. This was a great
a scene was painted, and still another afterward to disappointment for the painter as well as a waste of
latent Hind time. Something had to be done to keep this Even so, the dement of human error will not be
irujin happening again. Fhal was when someone thought shut out. There was a scene in The Jungle Book that is
of making a “blue sketch/5 of the scene. still a mystery to al! involved. The boy, Mowglit was
When the action of the rough animation has been to be shown running through the jungle after he thought
approved (what we called “OKed for Clean Up"), the he had been double-crossed by Baton. The feeling
scene is picked up by the Layout Department and needed to be one of desperation, with more abandon
checked for id! the extremes of movement, A compos¬ and floundering (him speed. The animator who was to
ite tracing is made in colored pencils (predominantly do the scene remembered a piece of live action film
blue) that shows the size of the character, how much showing a boy push aside some branches as he ran into
of him is showing, how high he goes on the paper, his a thicket. It seemed tike a good action that would fit
lowest point, his maximum move to the left or right, both MowglLs attitude and the situation, so the film
atiy contact he makes wiih parts of the background, as was brought up and the animator studied, made notes,
well as lhe first and last drawings in the scene. These and sketched until he could adapt the action to the
essential movements of the character are recorded so restrictions of his scene. The boy threw up a protective
[hat everyone will know just where he goes and what arm, ducked his head, twisted his body, then leaned
he does in that one scene. It reveals changes the ani¬ back, all giving him more thrust when the branches
mator may have made in the whole set-up that the were pushed aside and he burst through, continuing
layout man possibly does not know about yet, and it his forward progress It was a good action and difficult
indicates to the background man the main areas of ac¬ to capture, but worth it for the extra quality it would
tivity and those places that should be painted simply. give the picture.
 This type of action would not show up on the blue
Camera
sketch* and none of the people who worked on the
scene took note of anything special about it. The effects The first animation camera was suspended from a
animator who did the final drawing on the branches wooden frame so it would point straight down at the
stayed as close as he could to the action the animator drawings on a table. There was nothing fancy about ii
had defined, but he felt the leaves needed to be bigger and most filmmakers built their own. Since the draw¬
to match the new model and even added a few more to ings had to he held in register so each always would be
increase the overall mass. The layout man, thinking in (he same place, various methods were tried,, with
more about dense jungle than the hoy's problem, also holes punched in die paper that matched little metal
increased the size and number of the leaves. Finally, pegs becoming the most successful. To hold the draw¬
the background man, looking at die layout and (he ings absolutely flat while photographing, a large piece
effects animation, added a bit of lush growth of his of heavy glass, called a platen, was placed over them.
owm that was appropriate to the jungle, hut by then the This was even more important when eels were in¬
action was completed covered! The boy simply ran volved, since they had a tendency to curl and reflect
behind some dense bushes and came out on the other light back up into the camera lens.
side, still running. lie Tore the button is pushed to shoot a single frame
Money and time and effort had gone into shooting of film, the whole set-up of drawings and hack grew id
the live action, animating the scene, cleaning it up and must be cheeked visually to sec if it looks right and h
inbet weening it. making the Layout, and painting the completely free of foreign matter. A speck of dust or a
background. At this point in the production, which curious lly can ruin an expensive scene, so an air host
artist should change what he had done? A conference is kept handy to blow off anything that should not be
was held and the decision was based on expediency; there.
leave it the way it is; the audience will never know In the twenties, two cameramen were needed to
what they arc missing. The best procedures always shoot a scene since the camera had to be turned hy
have a way of breaking down, and only close contact hand. One man stayed up on top and carefully turned
between the individual artists can keep everyone work¬ the crank one turn, trying to keep a consistent speed
ing toward a common goal. and rhythm throughout; the other arranged ibe draw
mgs on (he pegs. At Disney's* it wras the ubiquitous
Uh I works who rigged up an automatic switch so every¬
thing could be done by one man sealed at the camera
table.
As filmmakers’ ideas expanded, they found a need
to move the camera up and down so they could come
in closer on a scene or pull farther back during ihf
action. A calibrated post replaced the wooden frame.
A short time later, they wanted to move the caineu
either to one side or the other, and then they also
needed to twist the camera as much as ninety degrees
for special shots, and to move the drawings through at
right angles to their normal position. This was called a
vertical pan even though the art work remained per¬
fectly flat. The pegs at both top and bottom were
placed on bars that could slide, and then aim!km pegs
were introduced, and then a contraption that would ;
move the pegs in any direction.
According to Bill Cottrell, who was the whole pm-
m department m 1930, Wall had constant ideas for around and unbelievably heavy, The light-weight met¬
improvements on the camera and kept asking for addi¬ als were hardly known at that time, and four strong
tions that would allow more flexibility. His ideas eon- men were needed just to lift the frame that held a
linued on into the film itself and what effects were single animation level. As many as eight 500 watt
possible there. Rill said* LLHe asked me to experiment bulbs were in a bank of lights for one level, and when
with color on film—to put silver nitrate on the film all levels were lit the heat was oppressive.
and see what happened. The picture Night was printed Somehow this camera captured the imaginations of
nn biue stock, and we had a f ire sequence that was both artists and the public, either because of its over¬
printed on red.'1
whelming size or its impenetrable workings or (he
By the sixties, ihe cameras and animation stands possibilities of what it could do. The principle of its
could do almost more than most animators knew how operation is simple and easy to explain, hut making il
K> make use of. These giants were expensive, and few work is quite another matter. The complications are
at lheir fancy gadgets were used very often, but when suggested by the fact that less than two years after i|s
needed they were wonderful to have. It was always a initial use, a manual had to be prepared that began:
question of whether it was cheaper to have the camer¬ ”Tbe Multiplane Planning Board is a body headed by
aman shoot the scene six times (each time with a dif¬ the Direction Uni! and Camera Coordinator and a rep¬
ferent exposure, and different materia], until a very resentative of the Engineering Department The func¬
special effccl was achieved) or have an enterprising tion of this board is to work out the w ays and means of
young artist draw it all by hand. Sometimes there was accomplishing Multiplane shots. ...”
no question since the effect could be obtained only by Basically, the multiplane apparatus makes use of
ihe camera work, hut now and then an enthusiastic and several layers of glass, each with some scenic material
competent cameraman could talk the producer into on it and placed at a varying distance from the camera.
more expense than really was necessary. For an average shot, the background itself would be
There was a period in the mid-thirties when every eight feet away, the first level six feet, the second five
oevv employee in the creative fields had to work in the feet, then another at four feet, and maybe a fourth
Camera Department six weeks to learn how the pic¬ level at only Iwo-and-a-half feet. As many as six levels
tures were put together physically. It sounded like a have been used and shot from a distance of 14 feet,
pm idea because it educated everyone in Ihe major hut that is not an average set-up. Assume the scene
loots they would be using in putting their ideas on the called for the camera to move in through the artwork
screen, but in truth it was a fiasco. The need for an and progress lo the right slowly. The amount of the
unusually sharp eye and complete concentration, com¬ move on each part would have been very carefully
bined with the almost unlimited potential for error calculated by an engineer, and all that is left would be
after error, was, more than most artistic temperaments lo run through the scene to see if everything works as
could tolerate. Expenses soared and (he productivity planned On the regular camera* (here is no run through.
of the department itself dropped lo an all-time low If a scene has been checked and approved, it will work
Tk idea was abandoned, but for years cameramen on the camera, and it does. The cameraman shoots il
seemed to cast a baleful eye at any animator who came just as the exposure sheet is marked. On the multiplane
visiting. H was unfortunate, because animators must camera, it is necessary to test the markings.
hiive some technical knowledge just to animate well The lights are turned on, the first eels are placed in
and should know what assistance the camera can give position, and the technicians take their places beside
litem in achieving their results. each of the levels. Up on top the cameraman is peering
Tbi.s all led inevitably to the huge, shiny, mysteri¬ through the lens* but there is no film in the camera.
ous monster that was kept hidden behind signs saying, Hrst, the level with the featured artwork is lit with (he
"Nn Admittance” and “KEEP OUT”; (he multiplane proper intensity, then the other levels are lit separately,
camera. Solidly engineered, it was built to withstand so that each gives the best artistic appearance to the.
even kind of ill treatment* bui it was awkward to get whole scene. Two big problems plague the crew end-
lessly: iirst, reflect ions that bounce off the shiny eels hacking.) The painters were annoyed at having to do
into the camera lens, anti, second, light from a lower this extra work, because only one frame had a light
level that occasionally shows through the paint on the leak, and a piece of black paper slid underneath the cel
back of the cels. would have stopped that in a hurry. After years of
'Hie reflections took all kinds of ingenuity to con¬ protest from the painters it finally was agreed I hat this
quer. from adding neutral density glasses under the wras a good idea.
camera lens at a forty-five degree angle (to “reflect Work in camera completely stopped while the palm¬
the reflection away".) to leaving the offending level ers fumed and painted the back of every last cel on
dark for one shooting, (hen lighting it by itself for a that level, When wrork resumed taler that day, or maybe
second run-through. Expensive and tedious, hut as the even the next, the camera crew started over again lo
crew said. “We were shooting most of the stuff with make sure everything would work smoothly with this
multiple exposure anyway." new- correction. They could not check every frame of a
Conquering the light leaks was easier—for the cam¬ scene hut did have to run down to all the critical poinb,
eramen. This involved sending all the cels in that level checking (he camera moves, the appearance of the
back to the painters for another coat of paint, this time scene at that point in (he camera finder, (he light leaks
in heavy black. (Laier while paint was used for this on other levels, and the constant reflections. In spite
of ihe most careful planning, sometimes they would era wras so expensive and why it was used less in later
find that they were overshooting a painted area or years. Just to set up for a held position with the back¬
removing a level before all of its parts were on I of the ground out of fix:us took longer than on the regular
camera field. camera, but the results were unsurpassed. There was
As the camera was lowered closer to the artwork, also a lime factor in just shooting the film: to get the
new problems appeared because of the change of angle depth of field in the focus for such a distance, a time
from camera to lights. Alterations that corrected a con¬ exposure of some eight or nine seconds was required
dition at one point always seemed to create a second for every frame of film. In addition, there were 22
problem ai another. So hour after hour the camera possible adjustments that could be made before each
crew backed up, changed the equipment, started for¬ frame was shot; not all were used on every frame, but
ward, backed up, started over, changed something else, all had to be calculated and written up and checked for
until all parts of the scene were working flawlessly, each frame. The exposure sheets were so complicated
litis literally took days, even with a full crew of five that only highly trained technical men could write
ornis men, but eventually they were ready to shoot the them—or read them
scene. In spite of the complications, there were three sepa¬
It is easy to see why operating the multiplane cam¬ rate multiplane cameras working around the clock for
many months. One cameraman said, "1 worked almost and then you'd do another, then ei distortion; you’d
a year on Fantasia, 12 hours si day. 1 had the night do ei diffusion, you’d do mist; if you’d make one mist-
shift. I’d come in about 6 o’clock and I'd never gel take after you start. , , He shook his head at (he
home till 8 or 9 in the morning." He remembered the painful memory. “You had to absolutely duplicate
special problems of shooting a little scene that would every move. With four or five guys- -you've got a guy
he on the screen for a mere three seconds, yet it had to (here, and a guy there—and a—you'd never make [hat
he shot 12 separate times to get the subtle effects that film today, 1 guess.”1
came only from multiple exposure, "You'd do one Few inventions have made sueh ei difference in the
appearance of the product as the old multiplane cam¬
era. When it was first used it was very special, and the
public heard enough about it to know !ha[ it meant
quality in production and visual excitement. It was
good publicity, a great advertising item, and the name
appeared prominently in our ads. We were a mazed
one day to see eiii ad for a Warner Bros, live-action
feature, laid in the wooded hills of magnificent moun¬
tains, that claimed the whole picture had been shot
with the “Glorious Multiplane Camera!" A good pub¬
licist cannot seem to pass up anything that is hot at the
time!
In later years, when the most often heard question
is, "How can we get the same effect for less money?''
layout men increasingly have gone to the optical printer
for their answers. Assorted wonders daily come out of
this device; among them a combining of different strips
of film that in many ways duplicates the work of the
antiquated multiplane camera, long since priced out of
existence. In this process, called bi-pack, the charac¬
ter is shot on one piece of film and the background is
shot on another. In the printer, the two pieces of film
are combined—sometimes revetiling a bit of telltale
rim-lighting, hut usually producing a surprising feel¬
ing of depth to (he scene. For a character racing straight
toward the camera, or going away, or for the camera
to pan with the character through certain landscapes,
bi-pack gives the best illusion.
The men in Special Effects operate the process lab,
and it is not in their makeup to do anything over and
over without asking questions. When head layout man
Don Griffith went over to ask about the best way to
plan a scene he had for hi-pack, he was told, "Why do
you want hi-pack? Why don't you use two-strip?"
Don asked, "What's two-strip?"
He is not sure that he understood the answer, but, as
he says, "The main thing is that they can do it!" The
master peg that used to slip and cause the annoying
The Multiplane Camera
rim-lighting has been eliminated, and three and four ues that each has brought to the picture Proper ha I
strips can be combined simultaneously, and a soft focus ance between these sounds can give the film more life
can he achieved on one level (as in the old multiplane), and sparkle, wrbite a lesser job will leave it muddy and
and even a see-through effect for an overlay is possi¬ undistinguished.
ble. While Don Griffith is excited about these accom¬ Since the process actually calls for recording every¬
plishments, Art Cruiekshank, veteran of the Special thing a second time, it also has been called re-recording,
Effects Department since the thirties, still tikes the or “re-re." This presents another occasion for diplo¬
multiplane camera best. He wishes it could be used macy and compromise. The sound man has high stan¬
again, because nothing can take its place in achieving dards lor what constitutes good sound, and he is very
great effects, “The bi-pack is okay for a couple of aware of what other sound men will say about his
levels, moving in and around, but for a full, six-level work. Most potential conflict here comes from the
scene, it can i do the same thing at all." sound man s very best effort to get clear, pare sound
Several exceedingly alert minds around the world on the tracks when that might not be the goal of the
have come up with a computerized multiplane camera director He may be after the reality of voices half-lost
that makes all the moves of the separate levels auto¬ in a crowd, the confusion of noises in strong activity,
matically, and this eliminates those four or five tech¬ the impact on the listener if he were there! The sound
nicians who stood around waiting to make a small man wants to hear every sound clearly and distinctly;
move on their level hardly often enough to remember the director wants emotion and involvement.
if they had done it in the first place. Now, when they There are no absolutes in sound; it is all relation¬
automate the position of the lights, their relation to the ships. V ou can have more highs, or more lows, less of
camera and to the cels, and figure how instantly to this, or a touch of that, or a bit of reverb, It is com¬
effect changes in the cels themselves as necessary, it plex, and it is all controlled by a system of dials and
may be economically possible to start planning those regulators and buttons that only the “mixer” may
involved scenes again. There are many ways today to touch, rhrough this system go all the sound tracks at
make the old device less cumbersome: for instance, the same time, and there probably will be as many
the use of smaller lights that throw out as much actual tracks as there are sound heads on which to run them,
candlepower as the old bank of 500 wall bulbs but even when the music has been re-recorded previously
with virtually no heat. and is now' on one track. If the music track is run at a
More likely, however, new uses will he found for level that gives it an opportunity to have real meaning,
the astonishing electronic inventions that become avail¬ the dialogue cannot be heard If the dialogue is brought
able to the imaginative producer and director almost up. the music cannot be heard. And if the sound effects
daily. Then, the venerable old giant that stimulated so are given a chance, they are apt to blast you out of
many wonderful concepts anti made so many visual your seat, It is a ticklish business with constant discus¬
dreams come true, can be retired to the museum. It sion of what should be done. Very rarely will there be
proved that creative men with determination eventu¬ any agreement.
ally can find a way and that the artist who is alert to The assistant directors and the cutters spend long
mechanical aids can find the assistance he needs to put hours preparing for dubbing sessions, because all the
his ideas on the screen. tracks must be in order, with no dirt or scratches, and
old duplicates from the work tracks must be excluded.
Dubbing This is the time they discover chat (he irreplaceable
piece of film they thought had been misplaced is actu
This is the original name for the process of combining ally lost! This is also a time of hope that the dope book
all the sound tracks onto a single track that will be containing the bar sheets has been accurately kept up
printed on the film along with the picture. Somehow, to date, because this is the supreme authority on the
the dialogue, sound effects, and music all have to be status of both the picture and the sound tracks. From
dubbed together without losing any of the special val¬ now on these two will be worked on separately, and it
is highly advisable that they fit together perfectly when
eventually they are printed side by side on a roll of
Answer Print
film.
Anyone who has shot color pictures of a vacation trip
Often, additional reels containing the sound will be knows that the slides or prints never come back looking
made up just for the dubbing session so [hat one take exactly the way the scene appeared to the eye. The
of dialogue can be moved off the reel that contains pictures are a little bluer, or maybe redder, or in some
phrases too close together or too different in volume strange way not in the same balance at all. The same
There must be enough time for a dlibber or mixer to thing happens when film is shot of the completed
turn his dials when he balances everything. A low artwork and sent to the lab to be developed.
whisper cannot be right next to a yell on the same
These scenes come back as “dailies" and are eagerly
track' it must be moved to another red where it can be studied by a concerned staff. The representative of the
controlled better. After the sound has been checked lab explains that “dailies" are never true in color
and shifted and measured and rep laced, cue sheets are since they are printed in whatever bath is available at
made up that show the sound men just what is on each the lime. He assures everyone that the negative is
track, how long it runs, and what comes up next. good and that all this will be corrected when the lab
These become the guide as rehearsals bring out sug¬ makes the Answer Print. The big trouble is that the lab
gestions and notations of what to try on the next run cannot always do it. As John Hench grumbled after
"Hold the music down just a bit and bring up that hours and hours of experimentation, "Film just woiTt
hoarse cackle—it's getting tost in there,** do what you think it should!"
These practice runs can take all day on a compli¬ fhe results improve each year with new chemicals
cated sequence, and in the early days there was no and processes, but for four decades it was a thorny
stopping to correct a mistake. Whatever happened, the problem that took much energy and many meetings.
reds had to run to the end, then be taken off, wound Walt even hired two key men from Technicolor to
hack, and threaded up again on the sound heads, one advise on what could be done to insure a certain result
after the other. With ten reels, and a confused sound in the final printing, and magnificent results were often
man, even a speedy projectionist could not make up obtained one way or another.
for the delays. One assistant director says his blackest If a certain visual effect really is needed in the film,
days were spent on those rehearsals, tor after the proper it is wise to experiment early to see if a cooperative lab
selling for each dial had been determined for all the can help in any way, for after the print has been made
places in the whole red the director would be called there is very little that can be done. It can be darker, or
over to listen for the first time. While he frowned with redder or lighter or bluer, which might make the over¬
critical appraisal, the film might roll by for 700 feet all scene read more dearly, but it cannot achieve a
with perfect balance; (hent for no apparent reason, a whole newr color balance. That only can be done by
crucial Jine of dialogue would not be heard , or a sound changing the original artwork to make use of such
effect would be muffled. The director's comment would capabilities as are available at (he lab. It is often a
be, "Call me when you've got the bugs worked out,'* disappointing compromise.
anil he would return to his room while the reds were
run back, re-threaded, and made ready to start over
again from the beginning.
Foreign Versions
New equipment and inventions have greatly simpli¬ Ordinarily one does not think of the special problems
fied this whole procedure now, but there are still deci¬ of making a foreign version of a film until after the
sions to be made, tom film, parts that sound thin no initial release, when the box office receipts indicate
matter how the dials are turned, heavy, tubby sounds whether the venture is justified or not. At Disney's the
that cannot be made to match, frantic trips back to the foreign market always has made up a large percentage
cutter's room to shift or replace a tiny piece of sound, of our revenue, starting with that first recording of
Re-ihread and start over again. . , . 5/iow White in another language.
 Since the shorts were based on sight gags, the sound As animators we wonder about this popularity of
tracks had been mainly sound effects am! music. The our work in other lands. When we have labored so
occasional, l+Hi, Minnie!” and ”Yoo-hoo!” were hard to get good sync—the very best acting to match
hardly important enough to be translated into French, the voice track and to convince audiences that the
German, Italian, Spanish, and Portuguese. But with voice is really coming out of this cartoon character—we
the coming of the features, new considerations had to are puzzled that the figure still can come alive when
be faced. The man Walt chose for this diplomatic and his voice is changed. Do we worry too much about
creative job was Jack Cutting, who had started as an making the lips and the mouth and the whole face
inker, worked his way up to animator, then switched speak the lines, or is it this very concern that makes
over to he the first assistant director. In that job he the character convincing even with another voice? Is it
learned everything about putting a picture together, the care Shat Jack Cutting used in choosing a personal¬
both physically and artistically, but his talents lay ity that would match what we already have animated,
beyond that. It was his fed for the characters them¬ or is there more magic in this medium than we have
selves and whai made them work in the picture that suspected? However it happens, it is extremely grati¬
made his versions in other languages so unique. He fying to know that our work and our viewrs on enter¬
did not try to match a deep voice, or a whiny voice, or tainment are bringing happiness to peoples of all races
a raspy voice, but went instead for an actor who could all around the world.
project the same personality as the original, regardless
of the voice quality. Jack knew and understood the
That’s My Character!
character relationships and how they should play against
ench other, and he searched until he found actors in Everyone who has worked on a picture will fed that
other countries who could capture the same feeling he made the personal contribution that caused the car¬
that was in the version we had made. toon character to come alive on the screen. The story-
He traveled often, lived in Europe for much of each man naturally will feel that the character is his, because,
year as he learned the languages, and became ac¬ after all, it was the story work that determined what
quainted with technicians in the studios and performers kind of ait individual this figure wrould be; and the
in the night clubs and in (he films. He worked with the story sketch man smiles because he drew the new
dialogue writers and interpreters in finding the best character, made the expressions, showed how he would
way to keep the spirit of a line rather than just the look; and the director knows that it was he who pulled
words, and used his training and bis judgment in all these talents together and kept insisting that the
coaching the voice talent during the recording sessions. figure act a certain way; and all the time the actor who
This recording was always done in the native country did the voice is saying, 4 Well, I know he’s my char¬
whenever possible, partly because of the availability acter because he’s me; I did him!” And the animator
of busy actors and partly for the natural feeling that nods knowingly, because no one can deny that he set
came to the phrasing and expressions. the final model and brought him to life, and the assis¬
As the popularity of the pictures grew in Europe and tant knows that without his work the character would
Asia, more and more languages were dubbed in with never have reached the screen The person who selected
the original music and sound effects: all of the Scan¬ the colors, those who painted the cels, even those who
dinavian countries were represented, as were the Mid¬ carefully checked to see if this character had all his
dle East, Japan, Korea, Thailand, and even India in a buttons; the cameraman who shot the scenes; the sound
Hindi version ol BambL If a picture was popular in mixer who gave the special sound to the voice—to all
one country, it wras equally popular around the world, of them, he is their character! This is as it should be.
btit occasionally one country would pick a favorite and Unless everyone feels this closeness to the end prod¬
treasure it above all others. Japan always has loved uct, the dedication will not be there and the necessary
101 Dalmatians, and Germany made The Rescuers the care will not be taken to insure that the end result will
highest grossing picture of all time in that country. he the finest anyone can do.
 HOW MANY DRAWINGS DOES IT TAKE?
Twenty-four frames of film are projected every second,, The layout man does about half that many; three layout
with several drawings on each frame men: 22,500 drawings.

There is (he background drawing throughout, plus as The animator makes at least five drawings for every
many as four levels of drawings laid over it, For one he keeps, but he docs only about a fourth of the
instance: actual drawings in the scene. That would he 115,200
times 5 — 576,000 drawings from all the animators
A. Miekey's legs and feet {wh ich do not move).
combined.
B. Mickey’s head, and body (which do move).
The inbetweeners do the 345,600 left in (lie scenes,
C. Pluto. once in ruff, once in corrections, and again in final:
perhaps ],036,800.
IX Pluto’s tail (which wags intermittently).
The clean-up men rediaw all the animators' drawings,
Probable average of 4 drawings per frame times 24
keeping only about one of every three that they draw.
frames per second - 96 drawings.
115,200 times 3 = 345,600.
96 drawings a second limes 60 — 5760 drawings a
minute. Drawings by all personnel of gags, caricatures, maps
of how to get to someone’s house, explanations and
The picture is HO minutes long. suggestions for new staging would easily total 2000
drawings.
There are 460,800 total drawings for film.
This makes the following grand total;
But these are just the finished drawings (which wilt
he put onto cels and painted, for another 460,800!). Inspirational sketch 1,000
Story sketch 75,000
It began with the inspirational sketch man. He un¬ Layout 22.000
doubtedly did 1000 drawings, counting sketches, doo¬ Animators 576.000
dles h research, and final. Inbet wee ners 1,036,800
Next, the story sketch men. Each man docs at least 20 Assistants 345,600
drawings a day, 100 a week, 5000 a year, 15,000 Finished cels 460,800
during the diree years it takes to make the picture. 2,517,200
Five men would easily do 75,000 drawings on each Miscellaneous sketches 2,000
feature film. Total drawings 2,519,200

WHY DOES 1 TAKE SO LONG?

A feature film must be one hour ten minutes long, total.

minimum, At ninety feet of film projected every min¬ There are six months of research before the film
ute „ there are 6300 feet to be animated. However, goes into production. There is one year of work on
most Disney films were about ten minutes longer, story, planning, styling, experimenting, and record¬
totaling 7200 feet. ing before animation is begun.
Ten feet a week was the average output of an Animation takes a year and a half.
animator on this type of action; some did mom, some Six months follow-up time needed for clean up,
less. The crew usually had ten men who could do this. color, music, camera, etc.
Ten men doing ten feet a week would take 72 Grand total: three years six months, if there are
weeks to do 7200 feet. Add to ihat holidays, vaca¬ no catastrophes. (Twenty animators doing fifteen feet
tions, w inter colds, a touch of flu, slumps, mistakes, a week could do it in six months—hut there arc not
and a scene or two that has to he done over: 78 weeks twenty animators who can do even ten feet a week!)
13. The Uses of Live Action in
Drawing Humans and Animals
"This is a very important thing. There are so many people storting in on this, and they might go hay-wire
if they don't know how to use this live action in animating." Wall Disney

Our term "live action” refers here to the filming of many jobs, and it led to some important discoveries.
actors (or animals) performing scenes planned for car¬ Live action could dominate the animator, or it could
toon characters before animation begins, as compared teach him. It could stifle imagination, or inspire great
to "regular animation,'’ which develops entirely from new ideas. It all depended on how the live action was
an artist's imagination. The direct use of live action conceived and shot and used.
film has been part of the animation industry for years In the early 19.10s, animators drew from the model
an an aid to animation, a companion to animation, and regularly, but as the necessity grew for more intricate
even as a replacement for animation. From time to movement and convincing action in our films, this
time, almost every studio has fallen back on a strip of type of static study quickly became inadequate. We
live film to perfect a specific action animators were hud to know' more, and wfe had to draw' belter to accom¬
not able to capture. At the Disney studio, filmed action plish what Walt Disney wanted. Some new way had to
of humans and animals was used in many ways to do be found for an artist to study forms in movement, and
 Helene Stanley, left, por¬ for this to be useful it hud to relate to the work cut our
trays the gentle Aniin in was a gold mine. Freddie Moore had the assignors
drawing boards. Running film at half-speed in our
101 Dalmatians, while Mary of doing the experimental animation on Dopey, anti h
Wfkl is her overbearing, action analysis classes was helpful Ibr a general under¬ ran the Collins film over and over on his Moviola
flamboyant friend Cruel!a standing of weight and thrusts and counter thrusts, but searching not so much for specifics as for the overal
deVil, Each actress contri¬
the principles were not directly applicable to anima¬ concept of a character. 1 hen he sat down at his de&l
buted her own ideas on
personality and mannerisms tion. Our instructor Don Graham had chosen certain and animated a couple of scenes that fairly sparklet
within the framework of the lilm segments as clear, isolated examples of move¬
with fresh ideas, Walt turned to the men gathered ir
action devised for this par¬ ments he could use in his lectures, but, while they
ticular scene. the sweatbox and said, "Why don’t we do mote ul
gave us insight into articulation, they were still essen¬ this?”
tially classroom exercises.
Immediately other comics were brought in- enter]
WHA tors. M Hi Kahl, Anita One day, during a discussion of how the Snow White
Mare Davis, Cruel la— taitiers from vaudeville, men who had done voices for
dwarl Dopey should act in a particular situation, some¬ the other dwarfs; all were put before the camera. No
10] DEiImjirians.
one suggested that his actions might be similar to those routines were filmed, just miscellaneous activities aid
fAc animators' drawings
'how the freedom used in of burlesque comedian Eddie Collins. This led to every¬ expressions that might help delineate a character. Our
Rlerpreting the action on one s going down to the theater to see the exceptional own story men who had a special talent for acting were
he photostats. Milt, ani Mr. Collins perform. We invited him to the studio,
tutting Anita, chose not la dragged to the sound stage, and animators even photo
and a lilm was shot of his innovative interpretations of graphed each other. As Hill Cottrell said years later,
tse the cringing body posi-
ion suggested by Helene, Dopey’s reactions—a completely new concept that ‘It all seems so amateurish now—but it was fun! it
vhile Marc went even fur- began to breathe life into the little cartoon character. lun! And that spirit ot inn anti discover,' wiu
her with Crttella. adding
Dopey had been the "leftover” dwarf, with no partic¬
he thrust to the neck and a probably the most important element of that period, J
ular personality and not even a voice; so, now, to see
few- bony body. By work- Now we had film that had been shot just for us,
ttg closely together, the the possibility of his becoming someone special, and, directly related to the characters we were drawing, and
wo animators were able ter particularly, someone entertaining, was an exciting
'take the drawings match
wen though the acting was crude, we all picked ip
moment! And best of all, everything Collins had sug¬
1 size and scale, while the ideas to enrich our scenes We quickly found that
gested was on film.
Performances of the ac¬ there were two distinctly different ways this film could
cesses maintained the per- There was nothing in the film that could be copied be used. As resource material, it gave an overall idea
onality relationship or used just the way it was, but as source material it
of a character, with gestures and altitudes, an idea ih.it
320
could be caricatured. As a model for the figure in
movement, it could he studied frame by frame to reveal
the intricacies of a living form's actions.
AI that time, the only way of studying live action
frume by frame was to trace the film on our rotoscope
machine. I his was simply a projector converted to
focus one image at a time, from below, onto a square
of dear glass mounted in a drawing board. When draw¬
ing paper was placed over the glass, tracing after tracing
could be made, each sheet kept in register by pegs at
Lk bottom of the glass. It was tedious work and time-
consuming, hut [his was (he way it had been done for
twenty years.
Naturally, Walt changed that situation in a hurry.
He had the film processing lab work out a system of
printing each frame ol a film onto photographic paper
ik same si^e as our drawing paper. These sheets,
which we called photostats, were then punched to fit
(he pegs of an animation desk, and the animator could
now study the action by flipping “frames of film”
backward and I or ward, just as he did his drawings.
Here could be seen every' tiny detail of changing shapes
Md relationships in the movements. At last, the ani¬
mators could study all of [he mysteries that had in¬
trigued thetn so long.
We were amazed at what we saw. The human form
in movement displayed far more overall activity than
anyone had supposed. It was not just the chest work-
mi against hips, or the backbone bending around, it
was the very bulk ol (be body pulling in, pushing out.
stretching, protruding. Here were living exatriples of
the "’squash and stretch ' principles that only had been
theories before. And here was the “follow through”
and the overlapping action,’’ the changing shapes,
the tensions and (he counter tensions, the weight shown
in the 'timing, ’ and the “exaggeration”—unbeliev¬
able exaggeration. We thought we had l>een drawing
broad action, but here were examples surpassing any-
[hin| we bad done. Our eyes simply are not quick
enough to detect the whole gamut of movement in the
human figure.
I Some actions were so complicated they were impos¬
sible [odraw in caricature, and many of the moves that
Pri ouches of personality were too subtle to capture
Uall. The lilt of the head as it turned, the changing
shape of an eye, the slight swelling of a cheek in a
m
fleeting smile, the raising of a shoulder as the body that is there, with an impartial lack of emphasis. On
Leaned forward—these were the precious elements of the other hand, an artist shows what he sees is there,
life revealed by the camera. especially that which might not be perceived by oth¬
But whenever we stayed too close to the photostats, ers His drawings can be closer to the true realism of
or directly copied even a tiny piece of human action, an object because he can be selective and personal in
the results looked very strange The moves appeared what he chooses to show. From the photostats, the
real enough, but the figure lost the illusion of life. animator chooses only those actions that relate to the
There was a certain authority in the movement and a point of his particular scene; then he strengthens those
presence that came out of the whole action, hut it was until (hey become the dominant action, with every¬
impossible to become emotionally involved with this thing else either eliminated or subordinated. What
ceric, shadowy creature who was never a real inhabi¬ appears on the screen is a simple, strong, direct state¬
tant of our fantasy world. ment that has clarity and vitality. The spirit and life
Not until we realized chat photographs must be have been gained by adapting the human form to an
redrawn in aid mat able shapes (our proven tools of artist s own designs, the shapes and forms that he uses
communicating) were we able to transfer this knowl¬ in reaching an audience. This is no more than what
edge to cartoon animation. It was not the photographed artists always have done. Michelangelo’s magnificent
action of an actor’s swelling cheek that mattered, it statue of David, for all of its power and beauty, has
wa* animated cheek in our drawings that had to such distorted normal proportions that David would be
communicate. Our job was to make the cartoon figure a strange looking apparition were he to be met walking
P through (he same movements as the live actor, with down the street, The celebrated Venus de Milo could
the same timing and the same staging, hut. because not even lit into modern clothes, and most of the other
animutable shapes called for a difference in propor¬ classic beauties of art. who have enthralled men for
tions, (he figure and its model could not do things in centuries, would attract only stares of amazement at a
exactly the same way. I he actor's movements hud to social function. The point is: a work of art is never a
he reinterpreted in the world of our designs and shapes copy; tor it to have meaning to people of many genera¬
and forms. tions and numerous cultures, it must be the personal
As long as we remembered to use the photostats statement of an artist.
only as a reference in making our own statement of The first live-action films we had shot were for
tthai should be in the scene, our animation was never reference only, and it was pure chance that something
tight nr restricted. Our drawing ability had to improve, fit either our story continuity or our sound tracks. But
our knowledge of anatomy and acting had to increase, it was not long before one of us had picked out an
and our judgment had to develop, but. with an appre¬ action he liked on a piece of film, synced it up wrilh his
hensive Walt Disney watching every line we made, sound track, made a couple of adjustments in timing,
progress was automatic—difficult, hut expected. Our and then incorporated that action into his animation.
uiirmition picked up a crispness, a force, and a richness Soon we were shooting film for specific scenes or
it never had before. This took study and analysis and special actions, so that an animator would not have to
careful work, but once a movement was understood it spend too touch time searching for relevant material.
easily could be incorporated into cartoon terms. We As a director shot more and more of his cartoon
had made the big break with rotoscopc. continuity in sequence with live actors, he began to
Mo one knows for sure why a pencil tracing of a live realize that this was a wonderful opportunity to check
action figure should look so stiff and unnatural on the planned business and staging before it was animated.
screen, unless there simply is no reality in a copy. The I his was also an excellent way of establishing early
animators had learned this in art classes, but, somc- communication with the animator himself, for here
hw, studying film of a moving model made them was something tangible to discuss. The action was on
Itiink ihai live action was different. The camera cer¬ tilni, and the director and animator could build from
tainly records what is there, but it records everything there, adding or cutting, doing more or doing less.
 / 17/: w x ’ SRaHraSI
i; *jT&> ~ X*SJ \
’Sis'* ik

vi .^,j| , V; 0T ’ / \ |
strengthening or modifying; but. at least, they were reveal what is happening, or it is lighted so that what
starting from the same point. you want to see is in shadow. Occasionally the footage
All of [bis demanded more cure m (he planning and will show only continuity of an actor moving from one
shooting of live action film. If the image on the film plaec to another, or just waiting, or getting into posi¬
was right, a weak animator could get by with it and a tion to do something interesting later on. The action
good animator could make it even, better. However, if must be staged with enough definition and emphasis to
the live action was poorly planned, or staged in a
confusing manner, it would cause trouble for every¬
one. and the director would do belter to throw the film
auuj and start afresh with the animator and his story-
ward, Essentially, (he film should be considered a
further step in the visual development of the story
Material, like an advanced story sketch, and it should
ie shot with (hat purpose in mind, lief ore going over
lathe sound stage, the director should lake a hard look
at the scenes he is planning to shoot and ask himself:

b this material really ready to go into animation?

Does the business fit the story? The character? Is it

right for the mood, the tempo, the overall idea ?
The whole production unit often participated in (he shooting
of crucial actions, in this scene for Sleeping Beauty, from
Is it entertaining? Is it just somebody saying some the left, layout men Ernest Nordli. Dan Griffith, and Tom
necessary dialogue, or is it a situation that gives the Cmirick check their layout continuity; performers Ed Keni-
actor a chance lo build and contribute1? tner and Helene Stanley discuss their rotes with the direc¬
tor, Clyde “Gerry" Gerottomi; supervising animator and
sequence director Erie Larson reviews the script while pro¬
If we happen to get some funny action or new busi¬ duction designer Mac Stewart makes sure the camera posi¬
ness. will it fit? Can this lie used easily and effec¬ tion mutches the scene that has been planned.
tively? Docs ii animate as it is? Will it make a good
scene ' Would I I*? excited if 1 had to animate it?

Am 1 helping the animator by shooting this, or will

ii he tough to handle once it is on his board ?

And when the director is on the stage with the scene

rehearsed and the actor ready, he should remember
renowned film director Stanley Kubrick Vs final
check: "is anything happening worth putting on
film?"

I'nbs a director is exceptionally wise, or an anima¬

tor himself, he should ask the man who ultimately will .4 ctor H ans Conned portrays Copt. / / ook and artist-comedian
animate the scenes to help plan the business on die Don Barclay gives a very imaginative performance as Mr.
Almost always when someone else shoots film Smee in this scene from Peter Pan. The prop man rocks
the hoar, creating an action that would he difficult to ani¬
b an animator die camera is too far back, or too
mate convincingly, while an unidentified child actor piav.s
dwe, oi (he action is staged at the vv rong angle to the stoical Indian prime ss Tiger Lily.
 Human Charactei

• Eric Larson— be extremely clear, but neither overac ted nor so subtle necessarily make it right for that place in (he pie Lure. It
la, (hat it fails to communicate. is very difficult to judge whether a suggested wav of
retty girl or a hand- Great care in the shooting produced scenes on lilm doing something is wrorlb the extra footage or whether
nee are presented that were so succinct, so rich, and so well staged that it can be shortened in animation without losing its
ally, they must he
they could be cut into the continuity reel almost tike a value. Comedy routines and personality-building both
d as straight'
n realistically and first rough test of animation. However, they were not take time; they cannot be rushed. The director utmI
the straight pieces of acting one might expect in a live animator must decide whether they are gaining impor¬
action film, because these imaginative scenes had been tant development whlb this piece of entertaining action,
Milt Kaht—
Italians. carefully planned for the medium of caricature. Usually or just stretching out the picture.
we used actors whose talents included comedy, inven¬ Usually we did not use the same person for both the
pi'.1.' in the face and
be caricatured just
tiveness, and creativity—as well as considerable theat¬ acting and the character’s voice on the sound track,
he characters will rical experience. As the result of building scenes with since we found that actors hud a tendency to give ik
r to animate and such people, incorporating new ideas, searching for a same interpretation to both performances. What we
wincing to the an¬
way that communicates better or offers more enter¬ wanted was someone who could add to the physical
ts r’?z this scene of
i sing his wife Anita tainment. the live action film gave the animator a performance, come up with a new dimension, a way
almatians, springboard to go beyond what he could have imag¬ of doing it that no one else had suggested. To get ihal,
ined himself. we needed an inventive actor fresh to the whole idea,
Eric Cieworth— We photographed anything that might prove help¬ with no preconceptions to limit his imagination
natians.
ful, and soon we discovered that the timing of a clever The sound track was on a record, which could be
n.t were the hench- actor could make a mild gag hilarious, that an experi¬ played over and over while the actor was rehearsing
■uefia deVil in 10]
enced stage comedian would offer sure ways of stag¬ and trying out ideas for timing and character. Then,
n s but their stupid-
rhem a constant ing a scene’s business, that another talent might suggest when the scene actually was shot, a recording was
The grotesque de¬ ways to put life into actions that had been conceived made of the sound as heard on the stage by the actor
faced she slapstick
simply as continuity. Some actors gave back only what After a +ttakeLL was chosen several days later, this
and semiserious
of these second- was asked of them; others were eager to lake over and recording was replaced by the original track, matching
ins. tell us how to do our whole production. In between, in sync what had been recorded on the stage. If new
there was a group who enjoyed working on a role, actions had been devised that required more time
building character, and finding ways to make it mem¬ between lines of dialogue, there was no way of chang¬
orable. ing the track at that point; so, the needle was lifted
Many times a performer would devise a piece of from the record and the scene was shot "wild.11 After
business so funny , so unusual and appealing, that every¬ the film came back from the lab. the director and (tie
one would be sold on it immediately—blinded to the animator juggled the picture and the sound track back
fact that its length w^ould slow down the pace of the and forth until they had the best syne they could
story. Just because some business is funny docs not achieve. Sometimes a new interpretation would develop
That Have Been Successfully Animated

dled more easily. This would he a mistake, for specta¬

ent phrasing or expression; [hat sequence would be tors need to have someone or something they can
marked for a relake the next time the " voice talent'* believe in. or the picture falls a parts In The Rescuers,
was at the studio—Etnother reason for not recording ait the young girl Penny was surrounded by a whole east
of the sound at one session, of broad characters; but, while they enriched the story,
3t became increasingly important to choose lust the they did not carry it. As Woolie said afterward, "‘Naw,
right actor for this type of live action, since it would the little girl was so believable! All those things around
hitv-c such an influence on (he development of a char¬ her were great, hut you needed that sincerity/5
ter's. personality, and even on the entertainment value I lie sincerity in that case came from careful planning
in Ihc picture. Some comedians were versatile enough of the scenes to make use of the most appealing aspects
to suggest antics for characters in one picture after ot this little character. Some miscellaneous scenes had
another, but for the most part we wanted a different been filmed of two different five-year-old girls, so (hat
actor lor each role. Obviously, the Huntsman in Srfcnv the animator could study how a child of that age moved,
W'/iifC could never be portrayed by the same man who but there was no attempt to record special moves or
would do Mr. Smee in Peter Pan. actual scenes after that, instead, the effort had gone
Occasionally, there will be a cartoon character re* into finding the right things for her to do and the best
firing such a subdued role, or such careful planning, way for her to do them. It is axiomatic that boy or girl
that there is virtually no rt>om for new concepts from characters can be done more easily in live action than
the actor. Once the role comes to life with the proper in cartoon, and that one should not do things in a
voice, the visual image should match, and nothing cartoon better done in live action However, if that
more. The Huntsman needed no more personality, no philosophy had been followed over the years, there
mote acting; his scenes had been so well conceived would have been no SVjph White ^ no Cinderella, no
itiai he had only to look convincing to make his sinis¬ Peter Pan. nor most of the features that the Disney
ter rote believable. studio produced. To make a "straight” character con¬
(>[ course, there is always si big problem in making vincing and interesting requires great creative effort It
[lie "rear’ or "‘straight" characters in our pictures may take imagination and a knowledge of both story
have enough personality to carry their part of the sto¬ and animation, but (here is always a way—if the staff
ry Animator and director Woolie Reithemian has said, is smart enough to find it and wilting to work hard
"The art of animation lends itself least to real people, enough to accomplish it,
and most to caricatures and illusions of a person/5 Generally speaking, if there is a human character in
The point of this is misinterpreted hy many to mean a story, it is wise to draw the person with as much
ihni characters who have to l>e represented as real caricature as the role will permit. Early in the story
should be left out of feature films, that the stories development, these questions should be asked; “Does
iJioutd be cold with broad characters who can be han¬ this character have to be straight?" " What is the role
 we need here?" If it is a prince or a hero or a sympa- reach up comfortably to dance with a young girl? The
Iheiic person who needs acceptance from the audience height of each dwarf had to he planned, not in relation
lo make the story work, then the character mast he to the girt doing the live action but to her cartoon
drawn realistically, but not necessarily in a restricted proportions, derived from the photostats of her danc¬
manner. In 101 Dalmatians, Roger and Anita had to ing, For the scene to be effective, n was important that
he treated as real people because of the genuine con¬ the dwarfs should not strain or he awkward as they
cern they had for their pets: yet they were drawn w iih reached to lake her hand. Fortunately, with Ham Tuske
less realism than the prince in either 5/iovv While or shooting the live action, all such details were carefully
Cinderella. The design of the whole picture, as wet I as covered.
the treatment of the story, permitted the animator more It is not worth the trouble of filming simply to record
freedom in representation. The Raduns and Cruella a change in size as a character comes closer to (he
dc Vi I bad broader roles and could be drawn with more camera, but if a major part of the design of a scene is
caricature, which immediately made them more inter¬ based on startling perspective or the relationship of
esting and stronger. In The Rescuerst (he little girl had several characters working in perspective, then a great
to be drawn sincerely because she was the heart of the deal of (he animator’s time may be saved by first
store1: Medusa and Snoops could he wild, comic fig¬ proving out the effectiveness of the scene on film,
ures because they were not sinister, The same strategy applies to the action of the inan¬
Whenever two or more animated characters are in imate objects that might be in a scene. Rolling barrels,
the same scene, interrelating in ways that are true to falling trees, avalanches, moving cars, wagons, and
their own personalities, live action staging, can be par¬ trains are all time-consuming and tedious for an ani¬
ticularly helpful Technically, it is difficult to animate mator to master , and (hey are questionable expenses in
two characters sharing a space, moving them about the animation budget when tracing such things from
wiihoui tlidr stepping on each other, while keeping a photostats will give just as good results, if not better.
general feeling of dimension and volume in the scene. In Pinocrhio, Stromboli locked the little fellow in a
The problem is compounded if some critical acting is large bird cage made of bent sticks, which bounced
required at the same lime. When the scene is shot with and swung as his wagon bumped along (he cobble¬
ihis an mind, and the actors move around in a way that stone streets. The cage even had a small perch inside
is helpful to the animators, everyone will benefit. that was swinging in a separate action. This intricate
; Les Clark was given the scene to animate of the object would have been almost impossible to draw in
three dwarfs dancing with Snow White—the only long the first place, lei atone to capture (he weight and
M that showed the dimensions of the dwarfs" room convincing movement of sis. action. However, the point
aid the scale of the characters through their move¬ ol the scene was not the cage hut Pinocchio’s reaction
ment- Animating the decrease in the girl’s size as she while inside, calling for help. That action in itself was
moved away from the camera was controlled by work¬ dilhcult enough for any animator, and forlunaiely there
ing from the live action film, but the matching perspec¬ was no need to add more expense to the scene by
tives nf the dwarfs that Les animated from imagination having someone work over and over on the drawings
made the scene amazingly convincing and added cre¬ ol the swinging cage. A model cage was built a! half
dence to [he whole sequence. size, and it was filmed so it appeared to be the right
Any dancing scenes in a story should he shot early scale and weight lor both the little puppet and the
and planned throughout the musical number, rather wagon, The animator then worked with tracings from
ihrni handed out piecemeal when an animator needs photostats ol the swinging cage, attempting to match
then. Obviously the choreography will he richer if a the acting he wanted with the changing perspectives of
dancer plans it all, instead of leaving it up to the the bouncing cage. It was a nightmare to animate, but
unresolved fantasies of some story man. In the scene a spectacular theatrical device.
Us had, there was a special problem with Snow In 1948, Wall Disney had money problems (again),
White's band positions. Just how high can a dwarf Pinocdth (which had been finished in 1940} had not
 The model of Cruel!a' .r car on the photostats. The im-
waspainted with black lines age mij cm out and pasted
that made it look like a on a cel. then copied by the
drawing when reproduced Xerox process like any
drawing. Once it was paint-
ed in flat colors, as shown
here. it looked just like She
other cels in the picture.

yet paid for itself. Fantasia looked a* if it was always

>f 101 Dalmo-
rii collision be- to be in the red, Batitbi. Wafts favorite picture of all,
ms driven bv the was still not in the clear, The solution to the studio's
■Ming the scene financial hind seemed to be another cartoon feature
of the cars are
along the lines of the successful Snow White—rather
f, layout man
' Davidoviuh r than anything experimental. Although "package pic¬
/ model maker tures," like Make Mine Munity did no! have the pro¬
effects onima- duct ion difficulties of a storytelling cartoon feature,
ckley and. at
they had not been very profitable either, A new, less
Ed Cook. Such
d kike hours to expensive way to make the projected Cinderella as a
haul this kind full-fledged animated feature had to be found. Reason¬
ing that animation was the most costly part of the
business, Walt felt that everything possible should be
done to save the animator’s lime, to help him make
that first test "OK for cleanup" without correction.
He turned to live action to solve his problem.
All of Cinderella was shot very carefully with live
actors, testing the cutting, the continuity, the staging,
the characterizations, and the play between the charac¬
ters, Only the animals were left as drawings, and story
reels were made of those skelehes to find the balance
with the rest of the picture. Economically, we could
not experiment; we had to know, and it had to be
good. When all of the live film was spliced together,
this was undeniably a strong base for proving the work¬
Tracings from photostats of the bird cage that imprisoned ability of the scenes before they were animated, hui
Pinocchio gave the realistic action that ivfij needed while the inventiveness and special touches in the acting I hi!
•racing the time that would have been required to animate had made our animation so popular were lacking. ITe
such a difficult assignment, Even more time saved by
film had a distinctly live action feel, hut it was so
drawing the back of the cage on one level and the front on
another so that Pinocchio could be sandwiched between the beautifully structured and played so well thal no m I
two without tedious registration to the bars on every drawing. could argue with what had to be done. As'animator.
vic fell resiriclcd., even though we had done most of
the filming ourselves, hut the picture had to he made
fora price, and this was, undeniably; a way of doing
it.
Ely the lime we were starting Peter Pan, we had
learned to get further away from any actual use of the
live action scenes* restaging them after seeing weak¬
nesses. using the film as a starting point from which to
build and invent and enrich. We had been shown the
Studies c
way to go, hut we had to do the ''going" ourselves* The Fox
umltfie picture was better for it. We recaptured much Me! Shan
of the fantasy and magic in the features made before ucter ha
a real di
the second World War.
picture.
Animators always had the feeling they were nailed
to the floor when their whole sequences were shot The cmin
the char
ahead of lime in live action. Everyone's imagination
animate i
as to how a scene might be staged was limited by the to draw
placement of the camera, for once a scene had been mats in
shot it was very hard to switch to a whole new point of stones, of
KenAndt
view—even though in animation it is quite easy to
those ik
bung (he camera from a star, or a nearby cloud, or let gested hi
it drift with the breeze wherever it is needed. ard the
Robin Hi

Animals In The Sn
the iWztf
If an animal in a film is wearing any kind of costume, hath him:
thur intc
be can be handled with human attributes and the audi¬
had to hi
ence will accept him. In contrast, if an animal in his way that
niilura! fur should suddenly stand up and start gestieu- like the o
luting, the viewers will feel uneasy. Put a capon him, still be n
audience
or a tie, and tic can swagger around, gesturing and
approad
punning like any ham actor. young fe
Stranger than that, if the story parodies human activ¬ Arthur fa
ities, as in Sang of the South and Robin Hood, there is
mi need to restrict a character’s movements by the
limitations of its an i in til body. The character can have
human hands, fingers* a human pelvis* and feel with
shoes Of course natural animal drawing or realistic
acifrwi will always add sincerity and interest to (his
lype of film* but it is not truly needed to tell the story.
On the other hand, if the story is man’s view of what
Ik animal world is like* as in Lady and the Tramp*
10! Dalmatianst and The Jungle Book, the animals
mist be completely believable or the whole premise
will collapse.
There was a unique situation in The Sword in the
 mise was to have the hoy limited in his actions by a
squin-el’s body and appearance, yet retaining his own
thoughts and mannerisms. He had to move like a squir¬
rel, but a rather inexperienced one.
When we say 'Teal,1' we mean only what the audi¬
ence accepts as being real, for obviously a real animal
cannot act or emote as broadly as animators require.
The more an animator goes toward caricaturing the
animal, the more he seems to he capturing the essence
of that animal, and the more he is creating possibilities
for acting. For example, if we had drawn real deer in
Bambi there would have l>een so little acting potential
that no one would have believed the deer really existed
as characters. But because we drew- what people imag¬
ine a deer looks like, with a personality to match, the
audience accepted our drawings as being completely
real.
Of course, style and design are part of this, too A
caricature cannot he made without them. But the big
point is that characters on the screen appear to be most
real when they can be animated to have personalities,
and this only can be done when there is potential for
movement in all parts of the body. In other words, the
more realistically animals are drawn, the less real they
will appear on the screen.
The animals in Snow White were crudely drawn
compared to those in Bambi, yet they all behaved the
way they should to work with the girl in that story.
And some people even thought the animals were real
Since it certainly was not the draw ing that made these
creatures so convincing, it must have been the acting
Stone that called for special decisions. The young in the animation.
Arthur had been turned into a squirrel by Merlin, the When learning to draw anything, it is important that
magician, so that the boy could gain a better under¬ the artist go to the source Afterward he can make any
standing of the world of nature. While in this guise, use of his knowledge that he chooses, but in the begin¬
Arthur met some real squirrels who accepted him as ning he must study the real object, whether it be ;i
one of their kind, even though he could not speak their zebrula or an aardvark. If Disney artists were going to
language. The problem was to animate the boy so that animate a fox, they would try to get a real fox to study
he would be believable both to the audience and to the and photograph, and, if possible, fed. Nothing maicties
squirrels, if he were just a boy running around in a the learning that comes from feeling an animal's bones
squirrel suit the audience would have no trouble recog¬ and muscles and joints, to discover how they are put
nizing him, but would people believe that real squirrels together and how far they can move in any direction: it
could be fooled so easily? If the boy were animated as is always surprising. The artists would get illustrations
a genuine squirrel, it would be impossible to preserve of fox skeletons to help in understanding why a fox
his character—or the humor in a situation based on looks like a fox. How is he different from other ani¬
Arthur’s being a mis lit in a foreign land. The compro¬ mals? Then they would get film of foxes in action to
i indereila' s Hide bird friends were deceptively simple. They
represented hours of study und a fuff understanding of real
birds.

Drawings
Davis ii-hi
structure i
bird. The
such infer,
can begin

Director Woolie Red her man hud a pet fox that we could
humile, photograph, and study as work was starring on The
Fo:k and (he Hound.

Major diffe
a fox and a
immediate^
their skeleft
The fox se
ready to da.
well under l
pelvis tilte
dogs stand i
the fox and i
a different,

Lei tiditioni f

Mud)'their movements and their timing. What makes

ing photographs made by Eadweard Muybridge1 near¬
ini^ animal a fox ? \\ hat attitudes or actions are unique
ly a hundred years ago were good for reminding them
In bim?
of what the animal does, but his cameras did not always
Neath’ always, him was available on virtually any
catch the extremes or details of relative timing, and
oimji1. because of the studio's great live-action series,
the pictures could be misleading if the animators were
Life Adventures, The animators drew from this
tint ami !ar with the animal or the action. Since it is
hlu traced off bits of action and. timing to study, tried
always hard to figure out the bumps and shapes in still
actions in successive drawings, and then went photographs, live action film is more useful; you can
tak [o study some more. They found that the amaz¬
see a roll developing, or pulling out straight, or a
Figure in Mot tun. Dover Publications Inc., Plate 142.

s Complete Human ft Animal Motion, Dover Publications, Inc. VoL 3 {of 5 volumes)
The seq u en i/ ph o(ographs taken simultaneously from three
different angles by Eadweard Muybridge in the late 1800s
provide she best general reference available for any student
o Cv
A \« <>!
uf action and motion. The thrust of the body, the straight
on ht?th the jump and the landing, and the bulging tissues
w the low positions are all clearly evident in these photos—
wAaf we cat l ‘ squash and stretch.'' Note also the secondary
tuaion of the arms to maintain balance.

Sketches by 0\
What makes
and appealing
tor tries to dis
sketching fro>
for Anstocats

The Rescuer:
bulge coming up, or a joint moving under die skin ble. Other than a special class that might start at 4:JO
much more clearly. pm and go until b:00 tone hour of our time against »

Many people get (he idea that production stopped halt hour of Wall's), all of [Ins research was done
for six or seven weeks while everyone learned lo draw while keeping up our footage on the current production:
a new character. That would have been a lovely way after hours, weekends, noon hours, whenever we could
to gain knowledge, hut it was not economically feasi¬ squeeze in some extra lime. Each man wanted to do
his best, and when he saw others drawing be tier he the hind end comes up first. Then I put out his front
quickly tried to learn what they knew. legs. , , , 1 think that s right, but what happens to (he
I his sharing of knowledge speeded up (he whole head at that point?”
learning process and kept a stimulating atmosphere Garbutt would perch on the edge of the table, more
dive. Jf one of us started to fall behind. Wait might like a bird than a draftsman (he never seemed to sit in
say, "We can do better than that!” as if the individual a chair), and start explaining, and while lie talked his
were not as important as the whole team effort. How¬ pencil would start making a thin line that seemed to
ever, he was more apt to say, “Why don't you go see meander aimlessly across the paper. We would turn
Marc Davis? He's got some nice drawings of those our heads lirst one way, then the other, trying to see
deer Y know, he doesn 't get all lied up in the anatomy; what he was drawing, hut the lines resembled a tangled
yet they look real, and they’ve got an appeal and a cobweb as much as anything else Then, suddenly, we
personality. You ought a go look at them; Marc might saw a deer in the precise phase of the movement we
be able to help you . " And Mare would, and so would had described; only Garhut! was drawing it upside
Milt, and Erie, and any of the sketch men working down so it faced us.
ahead of the animators, developing ideas. While we were blinking and trying to absorb that
Of these men, Bernard Garbutt had the most perplex- combination of rendition and explanation, he would
iig talent. He knew animals and how they moved and continue: “Now with a camel, he'll put this leg out
how they did things, but he never drew from an action first and keep his head down. . . .” When he had
standpoint. There were no thrusts, no muscles, no finished drawing a camel getting up, he would go on
f«lcd springs, just a clear, simple outline of the animal to the buflalo, just so we would have a thorough
in movement. We would go to him with a specific understanding of what was unique about the deer in
problem: 'I’ve got this deer getting up, and I know this particular action. In ten minutes we had a whole

■■i

Typical iiniwir.
nani Garbutt:
accurate.
 course in comparative anatomy, illustrated w ith gentle Another imaginative hit of problem-solving called
little contour drawings that had no boldness or vigor, for in Bant hi was the drawing of the stag‘s majestic
just surprising accuracy. antlers. To follow' through the perspective of each bony
We had another unique talent in Retta Scott, the prong as the head moved about was just too compli¬
first woman at our studio to have an interest in ani¬ cated for even the most mechanically oriented artists,
mation. She had an astounding ability to draw powerful, and the first filmed tests of the animation drawings
virile animals from almost any perspective and in any revealed rubbery, wandering antlers—a distressing loss
action. At one point in Batnbi, we needed some con¬ of majesty in what should have been the stags crowning
vincing and frightening hounds to chase our heroine glory. So, a miniature plaster model was made of (he
La line, but none of the animators was advanced enough slag's head with the full complement of antlers atop,
in his understanding ol hounds to tackle the assignment. and this was placed beneath the glass of the old rmio-
Retta could draw the dogs in any position, and she scope machine. Up on the drawing board. The artist
knew the attitudes and the mood, but she was inexpe
rienced in the art of relating one drawing to the next.
So the supervising animator, bnc Larson, set the scenes
up for her and showed her what needed to be done.
With typical modesty, Erie says, 4'\ worked with her
on the timing, but she did it alt; she worked and worked
on it/ " H owever it was done, between the two ol them
there appeared on the screen one of the most chilling
and exciting pieces of action ever to he animated.

t With
Di.

s have
track
■ scene
vtedge
ry are
i excit- V
makes

Jj i
hud lhe first drawing of a scene with just the head of
the stag carefully drawn in. Ho slowly turned and
tilled (he model underneath until the head lined up
exactly with his drawing. This done, he simply (raced
the horns. That drawing completed, he moved on to
(he next; with a slight change in the model, more
horns were ready to trace. The result was perfect—a
hit tedious, but not nearly so demanding as the attempt
to draw it all in perspective from imagination.
Rico Lebrun had been hired as we began to work on
Bam hi because of his knowledge of animals and his
ability to teach. He fell strongly that the only way to
learn all about an animal was to get your hands on it
and move it about and led how the parts worked. He
started a search for a young fawn, but since none was
then available we contented ourselves with studying
what film we had and observing older deer at the zoo.
One day, Rico got a call from a ranger in the Forestry The fawn that had been the
model for so many inspira¬
Service who had come upon the carcass of a very
tional sketches had grown
young fawn, no more than two days old. It W'as still in up by the time the anima¬
good condition, and he could have it! Rico was ecstatic. tors started on the picture.
That night in class, we crowded in close to watch Here, Rico Lebrun shows
Frank Thomas how she
the movements of the tegs and the back and the head head fits onto the neck.
as Rico turned the body round and round, testing the A!so watching are Retta
articulation of each joint. He was enraptured with his Scott and Iloh Youngquisl.
{Man \n foreground is keep¬
model; we were a bit more reserved—after all, it had
er for the deer f
been dead for three or four days. Excitedly, he an¬
nounced his plan to remove the outer layers, a little The deer showed more in¬
each night, so we could learn all the intricate workings terest in Qllie Johnston’ a
drawing than in her job of
right down to the skeleton. The whole procedure might
posing for the class. In
take ten evenings in all. background. Milt Kahi,
The next night, we stood farther back as Rico left, and BUI Shull.

ANIMATOR. Don Lusk-

Bambi-
Drawing problems were
more of a threat w the ma¬
jestic stag in Bambi than
the bullets of the hunters.
No one could draw the im¬
posing antlers so that the
volume and perspective
were constant from draw¬
ing to drawing, The ac¬
curacy seen here came from
tracing a plaster model that
could he turned in any di¬
rection tet match the ani¬
mator's drawing.

339
Pf'rr model-makers con-
u eted a jo in led armature Tails and Ears Are Important Too
I young deerfar the uni¬
tors to study white work-
' on Bambii Based on
■0 Lebrun's drawings,
'rything movedt orrectly,
, _ fh
ht down to the toes.

{f) Ears are on important

poet of the attitude on any
animat.

(2) Hair can be a key to

personality, ami many times
will show how a character
feels. Straggly hair gives
an unkempt, irritable look.
Smooth and sleek fur is soft
and feminine.

(3) Tails can do much to

J^0Hr the mood of an ani¬
mal. They can give a perky-
feeling„ or show dejection,
or affection, They should
not rest an the ground with¬
out a reason. They must
have life too. Watch out for
' 'dead'’ tails,

(4) The neck is often pass¬

ed aver when considering
parts of the anatomy that
can help show an attitude.
It can he arched for bellig¬
erence. show alertness, he
corky with chest out. or in¬
dicate anger.
 removed the skin—so we could examine the muscles
and (he tendons and the remarkable engineering prin¬
ciples revealed in this wonder of nature. Unfortunately,
each time he contracted or extended any part of the
cadaver a rich aroma was pumped into the air. He
called to us, "Hey* fellas, get in here close where you
can see what this thing is doing,"
We answered warmly* "Oh* we can see just line
front back here f"
In spite of this unique opportunity to gain vast
knowledge, attendance at those evening classes beean
to tall off. However, Rico's enthusiasm seemed to
increase in direct proportion to the odor, which no
Drawings by Rico Lebrun of the skate ml construction of a
longer could be described eis merely pungent. Our noses
fam in various positions, done after his exhaustive research
on she cadaver he brought to class, finally turned us all away, hut not his. He staved with
his prize until it was only hones. In the end, Rico
turmsned us with a wonderful set of drawings that
studied with considerably more relish.
While it is extremely helpful to understand the anat¬
omy of Em animal, its movement and timing and bal¬
ance and rhythm are just as important from an animation
standpoint, and probably they all should be learned
together. This is a comforting thought if the subject is
a lion or tiger, or rhinoceros* or any large* wild crea-

E.xhaustive research was always done as the animators be¬

gan a new character. Sketching directly from the film of¬
ten catches the spirit of an animal and the essence of his
movement. For 101 Dalmatians we used emr filmed action
JljjMes/tv-ttCJiiig- Frank Thomas. this way more often than on photostats.

Action seif ue /ices—

01 He Johnston,
pedal characters be- tyre. We had tilde desire to probe with our fingers the had given all signs of being ready to deliver, a lout
o emerge in these
inner workings of the orangutan while animating King night’s vigil produced nothing. Nor the next day’s,
les from film ami from
' ry by Ofiie Johnston. Louie for The Jungle Book, A few charts of compar¬ cither. The weary crew prepared for the second night
■ were the geese ive ative anatomy and some reels of film told us as much under the watchful gaze of large, doe eyes, Momng
hotographedfor ci se- as we wanted to know. came and the prospective mother was calm and re¬
e in The Aristocats.
Long before our artists encountered Rico’s fawn served. The crew was exhausted,
din and giddy spin- cadaver* they had been studying the general behavior When nothing happened during the whole day. i»
Amelia and Abigail, of real deer at close range, The studio had been sent a signs, no indications of any kind, the crew decided to
y appeared in the ji- pair of fawns from Maine that were kept in an area
*signt get some sleep and come back about midnight, having
alongside the animation building, and the artists had been assured by the zookeeper that most births occur
only to glance out the window for stimulation and during the small hours of the morning. They were
reference to ihe real thing. Despite the great value to gone for barely five hours and returned si ill groggy
the artist in directly observing an animal in its daily and bewildered from too little sleep, but they were
activities, when a story called for a rare or unfamiliar even more bewildered to gaze upon a frisky, playful
action from a deer it was still a major problem for the five-hour-old fawn prancing about the enclosure. Hie
animator. In the first sequence of Bambi we needed to crew went back to bed,
portray those initial few minutes in a fawn's existence* in contrast to live action films of humans* scenes of
when it is wobbly and vulnerable and puzzled by the animal action seldom can be spliced into any kind of
world, and dependent on its mother. However, nature helpful continuity. There might he a short sequence of
endows fawns with a strength and coordination that action scenes in a run or a fight that could be pieced
develops so quickly that within only a couple of hours together from scraps, hut more often the animator has
they are very different creatures. When the San Diego to be inventive, to find a specific place where he can
Zoo phoned to say they had a doe ready to foal any use a particular action. Hopefully* he can find some
day, the studio shipped a film crew down there imme¬ film of an animal flopping down in an exhausted state,
diately. They set up their equipment just outside the or one getting to its feel with a feeling of tired, aching
deer's enclosure* at a spot that gave them full cover¬ muscles, or a spirited, excited turn, breaking into?
age of every part of the pen. There was no place the run—all movements that suggest an attitude. Against
doe could have privacy if she desired it. Although she this, the animator can place a line of dialogue delivered
 the ones imagined by the animator, showing what the
dog could have done, in ways the dog would have
done it.
In addition to movements needed for scenes and
continuity, many miscellaneous actions were filmed in
trying to capture something of the individual animal's
own personality. I hese natural movements proved to
he the most helpful, since special meaning could be
given thenii by adding dialogue, or music, or sound
effects, thereby interjecting an extra quality into the
behavior.
Probably the most important rule for any kind of
animal photography is. “Don't be afraid to waste
film!’ To get the natural, the unexpected, the rare
moments, there must he unlimited patience and a run¬
ning camera. The director who is determined to get
only what is called for in his script, and get it right,
will miss the wonderful things (hat make an animal
what he really is. The animator who leaves the whole
tedious business to others wall miss the firsthand knowl¬
edge (hat only can come from being with the animal
while attempts arc made to capture its unique attri¬
butes. The best actions are invariably unplanned.
When (he casting was set for us to animate the geese
in Ahstocars, we borrowed a camera from the studio
and visited a friend’s ranch. He had two geese, some
assorted chickens, and a decrepit, tattered white tur¬
key w ho had an amazing desire to star in a screen test
The whir of film running through the camera caused
him to strut about with his three or four remaining tail
leathers askew, but it made the geese run away.
As (he geese ran, we were amazed to see how closely
ftpltJ no good. A ,t (f cartoon
they stayed together, with their necks almost inter¬
character, ke become a fast-
moving hoodlum. twined. We had expected the roll of the body as they
paddled about clumsily, but the wray the two geese
worked together was startling. At once a kind of char¬
^iih (he same type of feeling, anti with a little adjust
acter emerged for the two, which went beyond the
merit here and there (to improve the sync and match
dialogue we were contemplating for a pair of silly
the phrasing) produce a scene with convincing action
spinsters on a walking tour of Fiance. The film we
and belie vabtlity.
took seemed to have an almost constant overlay of the
I For 101 DalmatiansT scenes were shot of a dog
preposterous turkey, but behind him were always these
running; upstairs, stopping and turning, coming down
(wo heads peering around, keeping their eyes on the
ihe stairs, straining on a leash—all of which were
camera and the highly suspect man behind it, We
definite aids in timing scenes for the picture and
sketched from the film and from our memory , for once
idling animators to achieve natural-appearing action.
we had seen these girls in action, nothing could erase
0uMhe scenes that brought the characters to life were the reality of their intense skepticism. The nicely
 designed drawings of geese that we had seen on the grew up thinking a certain way that is where you must
storyboards were suddenly two very real personalities start, To have a mean and cruel kitten terrorizing a
bustling about with their own private dignity—haughty, family of nervous, flighty bears is an uphill fight for
appraising, critical, and funny. They were real geese, everybody.
with all the movements of real geese, hut they had Still, there is considerable room for variations. In
revealed the personalities that could be understood and Robin Hood, some of us thought the Sheriff of Not¬
shared by all humans. tingham would be more interesting if he were a goat.
Finding entertainment in a personality does not mean As the story was structured, there was no need for him
mitking a clown out of that character. It means only to he a crafty villain; he was only stupid, bossy, and
that one is relating to qualities common to all individ¬ unconcerned with the people he might be hurting. A
uals, and there is no loss of dignity inherent in that goal writh a thick skull could do this much and give the
process. The personality trails can he heroic, altruis¬ animators a new- animal to draw that could open up
tic, or noble; it is the use made of them an the story fresh ideas.
situation that determines whether they are comic, or The director of that film felt just as strongly that the
cute, or stupid, or mean. There are many ways of Sheriff should be a wolf, because the audience believes
being entertaining, and ihe challenge is to the story man the wolf to be a villain. The fact that recent research
to create situations where these individual traits can be has shown him to be a good family man and a fine
brought out in an entertaining way. fellow will do little to change ideas that are centuries
Many animals have their attributes already defined old. In addition, the goat has no established role in
by the legends and stories of various cultures. A coy¬ legend, and we would have the burden of proving that
ote is a cunning and wise hero to the American Indian, he was good or had or indifferent. Developing lhai
anti a villainous predator to the sheepman. To most image could waste precious footage that might be bet¬
people, a rabbit is nervous and almost completely help¬ ter used to show entertainment in the specific kind of
less; a wolf is all villain, whether he is slavering or villain he was.
it. Ken Anderson—1 deceitful; and the beaver is hard-working with no sense The most provocative discussions come when the
in Hood. of humor. When casting a picture with “good guys" story calls for a mythical creature, or one that has. not
v the Sheriff of Netting- and “bad guys," these are important considerations. appeared in tale or legend. A dragon is known tube
! might look as a goatt The "good guys" have to be small, ineffectual, cute, ill-tempered and sullen, so that is not too much of a
wdieval finery appro
te to the period, and us and associated with nonviolence. It doesn't matter if problem Rut other pictures may include creatures with
odern Southern high - the real animal is that way or not. You are playing off no connotations. When Woo lie Re it henna n was ant
patrol officer. images In the viewers' subconscious, and if people mating the dinosaurs in Fantasia, Walt told him to

te dragons with three

rent personalities: {1)
refined and poetic char-
r in The Re Suctant Dra-
: (2) The impulsive and
scipltned Madam Mim
he Sword in the Stone:
The spectacular trans¬
lation of the evil f airy
efficient in Sleeping
aty.
 beware of any human personality traits, “Don't make
(hem cute a luma] personal] ties. I hey ve |?ot small
brains, y know; make them real!" It was a disarming
request since there was little research possibly on what
a real dinosaur might have been like, but Woolie was
not bothered. He dipped into his imagination, com-
bined that with a tew raw animal things he had seen,
and, working closely with Bill Roberts, who was
directing that sequence, came up w ith scenes of dino¬
saurs that seemed to be just the way people always
imagined these giants should be, if ever they had
thought about it before! Fortified by Stravinsky's mag¬
nificent score, they created, together, a stirring film
that never can he forgotten

IV T'ricrratops attdStego- ammator; Weotie

tfwnw live again through Reitherman—
the magic of animated ' Rife of Spnng. ' Fantasia
drawings.
Who foipira how a dinosaur
walked millions of years
ago '/ The animator drew,
erased, corrected, and drew
again before getting this
convincing walk on the Ty¬
rannosaurus Rex,
A 16 pound bowling bolt is
rolling down the alley, ft
has a smooth, continuous,
evenly spaced progress
if is not erratic; it does not
speed up and slow down,
then speed up again.
It does not change direc¬
tion abruptly (unless if
meets something stronger),
Haw much an object weighs
is shown by how much ef¬
fort is required to move it,
to stop it, to change its di¬
rection. These are shown
through Timingt Arcs, and
Squash and Stretch.
y'V
■fA
If the object is a character,
a leg is pul out to fake the
weight, squash ing and ab¬
sorbing the force of the
move.

In 1928, Mickey had charm

but weight as he turned
a corner without regard for
support or gravity.

The Rhythm Walk

This spirited walk with the
bounce in the middle whj
used by everyone in the
early thirties. It was al¬
ways done to a musical
beat, giving a happy, ener¬
getic feeling to the action
and a jaunty attitude for the
character. Combined with
some carefree whistling, if
did much to establish M ic-
key’s personality,
(146) Mickey starts a nor¬
mal step, lifting his body
high,
(148) In the middle of the
step, he dips down,
(151) Then up again to a
high post don on head and
body.
(154) Finally, the low,
' ‘squash ’' position as he
places his foot to complete
the step.
Walks THE IMPORTANCE OF WEIGHT

Walks always have become troublesome and com¬ in everyday activities. Once the character went into
plicated to animate. The action can become so in¬ action, it was the same old business of moving the
volved with weight distribution and balance and sec¬ body where the animator wanted it to he, then adding
ondary movements that every single drawing becomes legs and feet underneath moving up and down.
a headache, yet they can do so much to reveal person¬
ality and altitude that they are one of the animator's
key tools irt communication Many actors fed that the
first step in getting hold of a character is to analyze
how he will walk. Even the most casual study of peo¬
ple on a busy street w ill reveal dramatic differences in
tow they achieve simple locomotion: long strides,
-‘hew reps i dele rm 1 n e d vs1 add ling, hthi nc i tig. m i nc i ng,
swaggering, rippling; there is no end to the variety.
In the early cartoons before sound came along,
there were few attempts to make walking anything
more than a means of moving the character to a new
position on the screen. There was pacing hack and
forth, occasional dragging of feet in sorrow or despair,
A marching soldier
or purposeful striding as the hero fought back, hut no make a sharp 90* ru,
animator tried to establish character by (he way the the corner, Bui if he m
figure walked. With the introduction of sound there ning fast, he will S
wide, stipping and skh
untie the "rhythm walk," with its extra bounce in the
and leaning into the i
middle that gave life and spirit to a mundane character to keep his balance.

/ pS i&b

/S& /63
 Walks THE IMPORTANCE OF WEIGHT

it was tho realization that the cartoon figure could

animator Frank Thomas— not be believable without convincing weight (hat really
Robin Hood, changed the animators’ thinking. The principles of
Robin Hood runs in to pick squash and stretch were beginning to be understood
up the last sack of gold. He and provided the procedures and the tools for display¬
places his foot well in front
of his body and slides into ing the new discoveries. Basically the principle was
position, lifting the other that a moving body could not he shifted in direction
The scent of pet
teg and planting it to help without encountering resistance from something in its mg through tht
.support the weight of the
presenl path of movement, causing il to turn Moose Hunt.
gold as well as to start his

animator Frank Thomas—

The Rescuers.
Luke, the muskrat, is run¬
ning with his jug when he
meets a crocodile, makes a
wild, scrambling take, re¬
verses direction and zips
out. Through this impossi¬
ble action, the jug is timed
realistically, with a full
arc and convincing weight,
which makes everything
else seem believable too. If
the jug had flipped about
like a piece of cloth the
whole scene would have
been just another frantic
cartoon take.
.animator Fred Moure—
Pluto’s Judgment Day.
Even in cartoonland, Pluto
weighs as much as a bowl-
tug ball. Here he skids
around the corner until the
force of his original direc¬
tion has been absorbed and
a new direction is estab¬
lished.

349
 .ww^tot? Oiiie Johnston—
101 Dalmatians.

Pan go has seen a beautiful

girt with a young female
dalmatian go two the park.

(2) The eiemen ts can influ -

animator Fred Spencer -Moving Day.

Donald is trying to get a fish howl off his rear bx tying
suspenders around if and attaching the other end to a piece
of furniture. Here he is running and slipping as he reaches
the full tension of the suspenders.

Roger and An ifa, from 101

Dalmatians, have fallen into
the pond. The water has
made all of their clothes
heavy and limp and sag-
ging.

The weight of the engine is

shown as it skids to a stop,
and the added touch of the
root flying momentarily into
the air helps the effect.

350
 animator: Fred Moore—
Snow White.

Dopey zips into the scene

hoping for a second kiss
from Snow White. In order
to keep him in balance in
this abrupt stop, the ani¬
mator used a cartoon slide
with the feet well out in
front, followed by u rigid
vibration on the recovery,
This caricature of a me-
chanicai stop added enter¬
tainment without Jest rov¬
ing the weight orbelievahii-
ity of the character.

O) Weigh! is revealed by
animator Frank 7hernias—
how hard a character has
The Sword in the Stone.
to push or pud against an
object. The great wizard Merlin
has changed himself into a
squirrel and met a fat and
very coy female ■ She is much
stronger than he and finds
his puny efforts to shove her
away highly amusing.
;hio.
rsi roughs of Pirtoc-
appity skipping off so
f show the amount of
ms shat is possible
movement of even a
•n boy.

u« Frank Thomas*
:hie

Walks FOUR-FOOTED FRIENDS on to Fantasia, [wro animators ' were assigned to puz¬
zle over the movements and drawing problems of deer
By the lime we had finished out' work on Pinocchio and rabbits, and to search for a way of incorporating
in 1939, the animators had done skips and runs, casual our tenets of communication into these foreign shapes.
strolls* walks with enthusiasm* with tired feet, with We knew we could make them real—that is* look like
apprehension, and with heavy-footed rage, in one real deer—but we also knew- that without establishing
scene, Jiminy Cricket even dressed himself while run¬ personality we could never make that type of deer
ning full speed; and in another, Pinocchio, as a pup¬ carry a whole feature,
pet* was made to simulate a walk with strings. We studied film of deer, looked at pictures, talked
Then Wall Disney decided to make Bamhi, This to the sketch men who had been drawing deer for most
was to be a picture of beauty and mood* of philosophy of a year (while the story had been shaped and devel¬
and poetry* contrasting the iniimacy of a dewdrop on a oped)* and watched deer at the zoo. The two fawns
blade of grass with the excitement of young bucks kept at the studio had long since grown up and depart¬
leaping about on a meadow, Bambi had less story, by ed, so we got no help from them, but we did have film
far* than the other features* being more like the picto¬ taken while they were young and frisky. However,
rial Silly Symphonies* but it bad strong character rela¬ nowhere could we see the leg squash as it took the
tionships, neither cartoon relationships nor caricatured, weight of the body, and no cheeks fattened as [he
but real, believable relationships. Was this asking too mouth closed. No eyes changed shape, no jaws dropped
much of personality animation? in a big yawn, no bodies bulged or stretched: tkj
Walt was not sure we were capable of animating were annoyingly lithe and supple and strong and mus¬
this film quite yet* so while the rest of the staff moved cular. What were we going to draw, animate* move?
 W* studying live action

film of rabbits, we no need

one white biumy hopping
uway in a very spirited
manner, The action wymt
faster than we would hove
thought, bits it read well
mid had unusual life, A
/rawttf by frame check re-

waled that all detail on the

rabbit's body disappeared
with she first frame of ac¬
tion—all she camera re¬
corded was- a white shape
fej changed radically on

each frame of the film, Each

hop took only five frames,
find while the direction of¬
ten changed erratically, she
positions in the action re-
mined she same.
 It was in the tracing of the film that we found our of being out in the open, away from the body, (he
answer. We did not have photostats on (his footage, activity was at both ends of the legs, in the shoulder
and the images were small and difficult to see. but and haunches, and. again, in (he fingers and toes.
once we discovered the secret of the animal's con- Here the action was as broad as any cartoon drawing,
si met ion all the pieces fell into place. There was actu- with great flexibility and spring in the tips, and mas¬
ally more squash and stretch than we could use. but it sive swelling and thrusting up in the body.
was not occurring where we had been looking. Instead It took some time to understand the deer’s anatomy.

r m <r
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Basic animal walk on I Os. floppy action. The princi¬ far in (he same gait. They are going, Ikfty they a
shown on a puppy because ples are (he same whatever speed up. slow down, vary going will also affect gt
ii is easier to see lvhar is the animal. die leg pattern, mainly con¬ and stance. Their line
happening in his loose ami Animals seldom walk verv centrating on where they sight is usually the key
•ft Frank Thomas—
x and the Hound.
cl ion ofa puppy run -
i10s,
lo realize that the shoulders are nearly in front of the the front legs took up the weight of the body and
nh cage and that the rear end is practically all leg and guided it into a turn, the elbow actually pushed up
haunch, hut once this was understood our drawings of above the line of the back. After that, we believed
the animals began to have the fluid, loose feeling, anything was possible.
combined with muscular power, that was so typical of Our other big surprise came in the amount of move¬
deer. One day we were studying a strip of film show* ment in the deer’s spine and pelvis. The twists and tilts
itig an adult deer bounding across a small ravine. As and turns and flexibility were more than we knew' hew

Traditional squ
stretch on a wa,
thirties.

On a dog's rear
squash is up in rh

—and in the shou,

' fingers’ of thej

their action. animal, you can then odd The head may he held high¬ acter of the walk.
One? you understand ihe re¬ the personality traits to er, (he feet may drag— Study the animal- -not the
lationships , the dm wing, the walk: swagger, prance, changes in attitude and tim¬ cartoon form ula.
and I he character of the caution, worry, confidence. ing will change the char¬
animator Louie Schmitt—
Bambi.
A mouse scampers for cover
when ram starts to fail, in¬
stead of using o gallop or a
stock cartoon run, the ani¬
mator caught the nervous
action of a real mouse.
 id draw, but they helped us understand how fawns
achieved (he frolicking look when playing. This also
helped us learn the basic patterns of all four-legged
animals in walks, trots, gallops, and runs.
A giraffe, for example, has to move his front foot
oat of the way of the back foot as it swings forward
because his long legs cover so much distance in a
I stride. I his gives the illusion ol both leet moving on
I the same side at once, and in a sense they do for a few ANIMATOR. Milt Kahl—
The Jungle Book
frames. But, essentially, all animals move their legs in
across pattern of right lore followed by left rear. We The stripes on the tiger,
which ordinanf y would be
got down on our hands and knees and tried it our¬
time-consuming decoration,
selves, and immediately discovered that it was the were used here to describe
°nty natural way to progress and stay in balance. To the form of She re Khan Be¬
move legs in any other pattern gives an awkward cause of years spent study¬
ing animat movement, the
movement and a poor base tor any kind of stability. animator was able to do ih is
I Ahile it is possible to train horses and some circus scene without heipfrom any
animals to special gaits, these arc basically unnatural live action film.

forms of locomotion. By studying the real animal

instead of working over a cartoon formula, we had
hv-krii through to a new level of understand]nit that
made other stories about 'Teal” animals possible for
the studio. More than that, once the physical relarion-
sliipi and character ot any animal are understood, the
'«y is open to portray its attitudes: belligerent, cocky,
stealthy, nervous, worried, or timid. And if there is a
>'.tne that calls for a lack of coordination, the anima¬
tor has only to break the animal's natural rhythm of
movement, to mix up the leg pattern. His character
immediately appears sleepy or drunk.
 Walks ACTING AND ATTITUDES semi-dog actions for Pluto, acting and emotions were
capturing audiences in a new way. As the spectators
Once (he walks of the cartoon characters began to watched Grumpy pull out of Snow White's embrace
look real* the animators could experiment with charac¬ and stomp away defiantly, they were more concerned
terization and attitudes. While pure inventiveness and with his feelings than they were with (lie mechanics af
imagination were still creating funny scrambles and his walk. Figaro, the cat in Pinocchio, was enor-

r liill Tyila—
■hite,
bite tries to give
a parting kiss as
s far work.

i: Eric Larson—
io.
crosses the soft,
mforter on his way

i- Eric Clcworth—
glc Book,
Ik was animated as
the drawings were
iminished in size
step so the elephant
natch the per spec-
the layout os he
away,

l
mously appealing as he walked across the bed. sinking tude than if he was just moving from one place to
deep into the soft covers, but it was his annoyance another. There was nothing to caricature when nothing
with (he constant interruptions from Geppetto that was happening; there should be some reason why the
made (he scene come alive. character is walking, and that is what you animate.
As a matter of fact, the animators found it easier to The acting possibilities in an action enable the ani¬
di>a walking scene if the character had a strong, atti¬ mator to go beyond a mechanical performance.

ANIMATOR; 01 tk
The Rescuers.

After a tender
affection betw
Penny and ike
rie,r him out a)
ft the loving bat
and inept wa
young people
r pets. It was ji
touch for this
the film.
 animator.' Ward Kimball—
Cinderdia.
Imaginative adaptation of
a fast sneak by an animator
who had observed cats and
could caricature their atti¬
tudes.

Mickey waves goodbye to

the people behi nd the safe¬
ty of the castle walls as he
reluctantly leaves an his
mission to catch the giant.
Me chuckles nervously, then
says, “ Well, so long!" anti,
“I’ll he seein" you—/
hope.” jEven without the in-
between drawings that carry
the mouth shapes of the dia¬
logue, the feeling and the
acting are unmistakable,
just in the body attitudes.
This was rta1 era of the most
appealing and best propor¬
tioned Mickeys.
ftV<l fLsdt * Cot*€ - - - Cor^f of /r
Zm** e%f — a**Jxi*J&> AV* ■

7 ^ f*tMk -

.4uVMf.vrr.yf ■ Fran it T/kwios—

The Rescuers,

Bernard tries to be noncha¬

lant as he retreats from the
chasm of she How-hole.
The action was worked out
in thumbnails to match the
dialogue and the gestures
to the pattern of his steps.

The final drawings show

how careful planning had
solved the animator's act¬
ing problems,
Walks that Show Character Personality

r/r Kahl—
ANIMATOR MUl Kahl—
‘Pecos Bill”
ng in thin walk
MeltKly Time.
rite personality
jus Sheriff of This sassy walk with the
. .4 model sheet swinging hips has been
jm (he scene so copied widely throughout
e walk could he the animation industry. It
'.ma the picture. was created originally for
Slue foot SueT the girl who
captured Pecos Bill’s heart.

*hn Lottnsbery—
the Hourst

tochance for a
rtrance for Hen
'er of the attiga-
:hi. Hate cocky
ed to make him
’om the others.
animator Eric Larson—
Peter and the Wolf.
Many duck waddles have
been animated, and it is a
challenge to find a pattern
of movement that is just
right for « character,
matching both the person¬
ality and the design.
 Group Movement different seems like needless work. St
When more than one animal is walking or running special opportunity in the handling of gr
in a scene, there is always a temptation to animate the make scenes of great impact. There is
same action for each figure. Once all the problems elasticity as one figure pulls away from
have been solved and legs are in the right place, the closes in again, or passes someone up, 01

idea of doing a second set of drawings only slightly that gives the charm and feeling of life

animator Eric Larson—H 'Once Upon a Wintertime f

Melody Time.

Eric Larson said, “The pattern of movement you get out of

ANIMATOR Fn
any group has always fascinated me," First, he drew the
Snow White
central figures, then started fitting in with others, always
searching for that flow and freedom that kept the group 4 ny group <
alive. The scene had a remarkable feel of the patterns of should have c
movement created by a group of skaters. Eric and Refta given to the,
Scott followed the same procedure when animating the dogs attitudes, v
chasing Faline in Bambi. The lead dog was done ftrst, move fogethi
then the others were filled in behind him„ wherever they ually. Fred!
worked best, made them it
pleasing.

animator, tiiil Tyila—

Snow White .

Four of the dwarfs strug¬

gle as they take a furious
Grumpy over to the tub to
be washed ami scrubbed.
Bill TytUTs roughs show
his thinking on this assign¬
ment and his feeling of how
the thrusts and actions of
one dwarf affected all the
others. He could not ani¬
mate any one of them sin¬
gly. but had to consider the
whole action of the group
as the entertainment in the
scene,

364
 animator. Frank Thomas—
Robin Hood.

This scene of kids going out

to shoot the new bow and
arrow (hut one of them had
received was a happy oc¬
casion Since the sequence
immediately preceding had
ended on a very quiet and
somber note, it seemed best
to start this section with a
burst of laughter and music
and running kids coming
over a hill, The animator
drew a set-up with a street
coming straight into the
camera. Then he animated a
simple explosion, to match
the spirit he wanted. Later
he went hack and deter¬
mined which part would be
somebody's arm and which
a leg. or a head, a stick, ar
a ribbon. After the initial
effect was over, the char¬
acters turned and ran down
the street on a side pan.
giving the audience a
chance to see each of them
individually.

animator. Frank Thomas—

Snow White r

In Snow White the dwarfs

sneak into the bedroom with
raised pickaxes„ ready to
kill the monster in their
beds. It was important here
that att the characters move
together, look together,
stop together, recoil to¬
gether; so they were ani¬
mated as one large mass
doing the action. After¬
word. this shape was broken
down into the individual
dwarfs, keeping nil parts
within the approved mass-
shape. Even though Doc
was in the lead„ he was no
more important than any of
the others. The audience
u'q.t intrigued by seven men
reacting as one, with each
still acting in his own iv<jv
within the pattern.
14. Story
“The story man must see clearly in his own mind how every' piece of business in a story wilt he put ove ANIMATOR: Art Babi
The Country Cmi&
'it' should feet every expression, every reaction. Me should get fur enough away from his story to take a secon
fart at it , . . to see whether there is any dead phase ... to see whether the personalities are going to he The unsophisficatc
try mouse, visiting
interesting and appealing to the audience. He should also try to see that the things that his characters are
city for the first t,
doing are of an interesting nature ’" Walt Disney advertently become
and finds himse
fronted with a dijfia
iem: how to get
bretia out of the j
be a story. And, preferably, it should be a good one
Preparing For Animation toast,
One artist summed it up, "A good story cannot be STARTS ON PAGE 4!
Ayoung high school Filmmaker wrote us to ask ' w hat ruined by poor animation, but neither can a poor story
makes a good story, great characters, good gags, good be saved by the very best animation.'1’
continuity, etc ?” Unfortunately, there is no closely He could have gone on to say that a good story also
guarded secret nor any simple answer, other than judg¬ can be ruined by poor development in the Story De¬
ment, hard work, and talent. It begins, of course, with partment. Just because the story is great, there is no
the idea for the whole picture. One story man coun¬ assurance that it will remain great after it has been
seled, "Film, to me. is no different from creating a worked over and over on the storyboards. Nothing is
drawing, painting, song, play, or whatever. II you automatic in the animation business except the nega¬
don’t have a positive statement to make, you should tive elements. How good a picture can become is much FACING PAG*

never pick up the paintbrush or pencil,'L1 More than a less certain. Lady and theTramp.

positive statement, n must have enough importance to First, there must be the big. simple idea: the story
be worth communicating—to be worth the work and you can tell in two sentences. As you work on a pic¬
ihc effort that will be required to put it on the screen. El ture it seems so complicated that even two paragraphs
must be interesting, provocative, spellbinding; it must will not tell il all, but if it started out as a good idea.

\ \5(£ *
t jf?

1
W
dm:
^ Jr

1 SC
and you have been faithful to that concept, one day it acters and put in lovable sequences and extra ideas
will end up very simple again, you know w ill be great, but a hodgepodge can result
Alfred Hitchcock has recommended a similar ap¬ unless there has been a dear, strong drive to the story
proach, from the very start

1 always feel comfortable about a project when I

Sequences
can tell the story in a very simple way. r , r I like to
imagine a young woman who has been to see the Our feature films always seemed to end up with about
movie and goes home very satisfied with what she 14 sequences. No matter how each started out, whether
has seen. with high adventure or complicated stories, by the
Her mother asks her, “What was it about?" time we developed and balanced and streamlined and
And the girl replies, "Well, it was about a young edited wre ended with little more than a dozen. At least
woman who so and so and so. . . .** two sequences would have been cut out alter we started
I feet that before undertaking to shoot a movie, production, and something else would have grown to
one should be able to do just that, to satisfy oneself sequence length and been inserted even later. Still, we
that it can be narrated just as clearly, the whole never had more than 15 nor fewer than 10 sequences.
cycle.3 This fact becomes quite important when a picture
requiring many incidents in different locales is beinu
We have found that the story idea for an animated considered. Constant action situations give no chance
film must be even more direct' for the quiet sequences where audiences can fall in
love with the characters. In our experience, a picture
Jealousy leads a vain queen to threaten the life of a that attempted continuous excitement and dramatic ten¬
young princess, who flees into the woods where she sion never held the attention of the audience. It seemed
is befriended by seven dwarfs. When the queen, in to dull their senses. There could be a strong underly¬
disguise, tricks her into eating a poisoned apple, the ing theme, but the story had to be told with a balance
girl is thought dead and preserved in a glass coffin of tempos and fresh ideas.
until a prince awakens her with love’s first kiss.
Snow While had these sequences:
A baby elephant is considered a freak because of his
enormous ears, until an enterprising mouse discov¬ 1, Introduction: Queen and Mirror: Snow
ers a way to turn this liability into a startling asset. White in courtyard: arrival of Prince
2. Queen orders Snow White’s death: Snow
An orphan girl is held captive by an eccentric woman White and Huntsman.
who is using the child to retrieve a large diamond 3, Panic in the woods; Snow White meets
held in a treacherous cave. Two mice from the Res¬ animals; they take her to dwarfs' cottage
cue Aid Society help the girl find the diamond: and help clean house.
then, with the aid of some local animals, effect her 4. Dwarfs in mine; march home and find
escape. something in their house.
5. Discover Snow White; agree to let her
Such a synopsis gives none of the flavor of the stay,
picture or the rich characters that motivate it, but it 6. Dwarfs wash up for dinner; scrub Grumpy.
does reflect the basic drives that hold the picture 7, Queen turns into witch.
together and make it work If your idea is complicated 8, Dwarfs entertain Snow White; she sings
in the beginning, there should be much more thought for them; dwarfs give her their bedroom.
and discussion before even starting the picture, There 9. Witch prepares poisoned apple: leaves foe
are many temptations to overdevelop wonderful char¬ cottage.
 10, Dwarfs leave for work, after warning presentation of the material, there should he a careful
Snow White, development of the drama inherent in each situation.
M - & 12. Both sequences dropped. A situation that is contrived simply will not hold upon
13. Snow White making pies; witch arrives the screen. Similarly, a situation that is ordinary or
and enters house. predictable quickly will become dull to your audience.
14. An i mals warn dwarfs: they ret urn too 1 ate; It is vital that you have the viewers with you and
Snow White poisoned; witch falls off carefully lead them through the story situations, hut it
diff- is almost as important that they not g.et ahead of voti.
15. Dwarfs cry at Snow White's bier. They can lose interest in even your best characters if
16. Glass coffin; Prince comes; Snow White everyone knows what to expect, or, worse, if things
awakened and goes away with Prince. just seem to happen w ithout regard for who the charac¬
ters are or what is motivating them.
The Rescuers had these sequences: Often this situation cannot he uncovered until enough
work has been completed to run the rough reels. It k
1. Bottle found with call for help; Rescue not too late to correct, delete, or fortify, but it
Aid Society sends Bianca and Bernard. crucial that the weakness be recognized and identified
2. Mice learn about Penny from old cat at at this point, A criticism written about The Fox and
orphanage. the Hound after an early showing of approximately
3. At pawn shop, they learn where she is he* half the footage will illustrate the problems we incurred,
ing held; Medusa leaves; mice left behind. (The basic story is that a young hunting dog plays
4. Dropped, happily with a kit fox when both arc puppies, but as
5. Albatross Air Service; mice take off, fly adults they live in different worlds. The fox lias be^n
through clouds. raised by a kind widow living on a farm next talk
5.2 Devil’s Bayou; Penny tries to escape, hunter who is training his dog, and there is a mmn
caught by crocodiles; mice arrive, meet owl who constantly is trying to help the little fox and
Swamp Volunteers, ride with Evinrude. explain the ways of the wild to him.) Our continuily
b. Medusa and Snoops plotting; mice chased was clear enough, but this was the reaction;
by crocs into organ, shot at by Medusa.
7. Medusa talks to Penny; sad song: mice The biggest weakness is that there is no way the
arrive; escape plan. audience can relate to the characters. We don’t know
K. Evinrude sent for help, chased into bottle how the owl feels about the fox, really, orwhalsk
by bats. is trying to do—or why. Is she the same as Ik
9. & 10, Dropped. widow? And we don't see enough of the widow's
11. Penny in Pirates Cave, finds diamond, feelings to justify the length of a whole sequence
barely gets out, ~ where she turns the fox loose in ihe woods. Tk
8.1. Evinrude eludes bats; swamp animals to pacing of the picture seems slow because we are not
the rescue, involved. More footage explaining these things will
12. The escape; diamond recovered; Penny just make the picture even slower
rescued with aid of fireworks.
13, Happy ending; mice sent on new mission. On an early showing of Sleeping Beauty we received
a reaction that picks out the same type of weakness in
Our goal must be to keep the audience pleased, bu! our presentation:
also excited, concerned, and, especially, wondering
what is going to happen next. This will take place only There is no real conflict of Good and Evil. It is till
if the audience is involved with the characters and about that, and it used all the symbols and it said it
what they are doing. In addition to an exciting visual was about the age-old struggle, but because nothin
 came 10 life, no conflict really developed. I he audi¬ entertaining) will simplify the story and make it clearer
ence was never involved, The characters talked about Often, the enthusiasm for a rare bit of entertainment
the story they were in. but didn't live it—the audi¬ will have blinded everyone to the need for careful
ence never fell it—it was never real. work in a story or layout before the scenes are passed
on to the animator. Sometimes the animator himself
Ever) picture gets the same type of criticism at this can be so eager he does not wait for any more prepara¬
stage, which brings up one of the more difficult chal¬ tory work before he begins. This became a real prob¬
lenges in the whole process of making the film. What lem in the late thirties when it generally was felt that
should he done at this point, regardless of what was just about anything could be animated.
wrilleri in the script, to make this picture come to life? Veteran story man Leo Salkin, speaking of those
What will make the situations more believable? And, days, said that the story work was much more exciting
most important, how can we make the story seem to and stimulating as the animators improved in their
come from what the characters do'? abilities to handle any kind of acting. But Ben Sharp-
Very often a few simple changes will bring dra¬ steen fell that now and then the story man left his own
matic results. After one of the sequences in The Fox work only half done. He wrote. **J am inclined to
and rfo’ Hound had been reworked, a young animator think that too often people . . . grew accustomed to ASIMAT0R: i
wrote this comment: "All right! Now you feel that the Dumbo.
some of the great performances that animators gave,
story comes out of the personalities—it is not a plot and they were continually relying on them in visualizing Dumbo, i
you are trying to push the characters into—it doesn’t elephant
the making of a picture, instead of realizing that, fre¬
ears, has
even feel like a story! It's just something that happens quently. simple story changes could produce even bet¬ from a wfl
when you gel these personal ities working against each ter results.” Wining spj
other!" To illustrate, he chose a section of Dumbo that shows is acting s
friend Turn
Sometimes it is only a matter of a few new scenes: Timothy Mouse becoming drunk. The clowns have
into the h
hi establishing shot to clarify the location or the condi¬ been celebrating and dropped a bottle of liquor into a balance, f
tions surrounding the characters, or a new way of tub of water. Timothy and Dumbo come along, very the Uttte d
staging the original idea so that it has more strength. disconsolate, anti Dumbo begins to hiccup. Timothy m hear s
bottom of
Bui occasionally the staff has to come up with a whole suggests he drink some water* and soon ihe little ele¬ see bubble,
new compromise, or even a complete new sequence in phant is behaving in a. strange manner. Timothy won¬ a drunk Ti
order to make the continuity on the screen hold an ders what kind of water is in thai tub and takes a drink Tfm whj rtJ
-udicncc. himself. This was the action the story man left up to nier way of
ness than
Sometimes cutting out parts that have been overbuilt (he animator. Timothy gr
or become confusing {even though they might he The secne was given to Fred Moore, one of the top by the wfu
animators (with successes in Pirwcchio on the charac¬ Another type of change to consider if the characters
ters of Geppetto, Lampwick* and Jiminy Cricket), but need strengthening might be a shift in character rela¬
he had trouble with this assignment, Ben went on. tionship. It could be the business itself that needc
‘ Moore was animating the scene, and wc could not bolstering* but it also can be that the personalities do
get the result that we had visualized. It was based on a not have a chance to play properly and reveal just who
very subtle and difficult piece of personality anima¬ they are. Adapting the personality traits more to the
tion." Timothy, somehow* had to react in an appro¬ situations that are developing could be one answer,
priate and entertaining way, first, to the taste of the but occasionally a whole new relationship is needed.
water, and, second, to the way it was beginning to When our production unit started The Rescuers, all
make him fed. There was not enough time to have of us lbought we would make our team of mice detec¬
him complete the change to a funny drunk; the point of tives more interesting and a little different from other
this scene was just to show his initial reactions to mice we had done by having them married. There had
taking the drink. It was subtle—and questionable been several successful live-action shows using a hus¬
planning as well. band and wife team, and the idea seemed to offer new
After Fred had sweated and squirmed through sev¬ situations that would be stimulating for all of us. We
eral tests, none of which felt right* the decision was had moved the first sequences through the Slory De¬
made to change the story concept at that point. They partment* even had our first recording session, and were
went back to [he storyboard, and after many discus¬ well into experimental animation before it gradually
sions Ben recalled they came up with this idea; became apparent that the responses of our mice to the
various situations were too subtle for good communi¬
When Dumbo showed signs of intoxication, Timo¬ cation in animation. In the live films, the fact that the
thy remarked, "1 wonder what kind of water this is characters are good-looking and involved in a predica¬
anyhow." With that remark, he leaned over too far ment really was all that was needed. Any bits of dia¬
to look into the tub, fell in, and after a splash or logue between them could fortify the entertainment,
two* the sound of his voice changed considerably. but that was not vital. You either liked them, or you did
[In the final* they used a happy yodel ] This was not* and if you did like them you went along with what
done without showing animation of Timothy. The they were doing. In animation, that is not enough.
next time we saw him, he was resting on his elbows We had to have stronger reactions, more emotion
on the edge of the tub with a silly smile on his face. feelings the audience could recognize and understand.
This was a simple and easy way of putting the We tried bickering, affection, annoyance, dependence,
transition over. It was a far better means of doing it but everything was too mild or slightly unpleasant.
than to have squeezed everything we could have out We finally realized that our biggest stumbling block
of the animator in some subtle manner. In fact, the was that there was nothing either mouse was trying to
resulting animation could have been done by an achieve in their relationship. Without the litlle be¬
animator of lesser abilities. wildering moments of getting to know each other.
without (he possibility of romance, without the excite¬ the mice s preparations for the mission. They were
ment of a new companion, we were finding very few told to check out the equipment needed from the sour
attitudes worth animating. old mouse down in the stockroom. While Bianca was
It has long been known in the (heater that one of the selecting hats and outfits that would make them look
best ways to gel hold of any character is to find out debonair, Bernard was concerned with safety and
what hie is trying to do. If he is merely an observer, ingenious inventions that a James Bond might have
satisfied with his life, complacent, and only concerned used. When asked by the clerk if he knew how to
intellectually in any situation, it will be difficult to handle a special dart gun. be acted nonchalant and
make him either real or exciting. It is not until he competent in order to impress Bianca. Naturally, he hit
begins to interrelate with other people or with human (he release and nearly killed them nil. His aplomb was
problems that he shows his array of unique traits, We further shaken when he was handed the survival kit
reeded to find interesting ways for our characters to with two pills to be taken in case of capture!
react to anything they might encounter. Ken made hundreds of drawings of the props that
Instead of a professional team with the wisdom of mice could make out of thimbles and erasers and things
experience, we changed our mice to amateurs who had that humans had discarded, and wre wrere all excited
only their pledge to the Rescue Aid Society to guide about the entertainment in both the locale and the situ¬
(hem, Immediately rich altitudes appeared, and story- ation. It was not until several weeks later, after we
men became eager to delve into the new possibilities discovered that the plight of the little girl was the very
ot (be situations. But even more helpful was to have backbone of our story, that we realized that we would
tk mice not even acquainted at the start, each seeing have to give up all of the byplay of the mice getting
the other for the first time early in the picture. Now ready to go on the mission. It just delayed our getting
everything each of them did was colored by the pres¬ to the main part of the story. The picture became
ence of (his new companion. Miss Bianca was very interesting when the mice had a real problem to solve,
good-looking, with quite an appeal for Bernard, and, and all the talk before they'-actually started out became
white his main duty was to the society and his desire to dull, and, worse* made later parts of the picture seem
succeed at any cost, his predicaments were made much to be boring because they repeated attitudes we were
more interesting by having such an exciting female by using here. So the sequence had to be dropped. Of
his side. If he had to tell her that she was wrong, he course, the big problem comes in recognizing that this
had a problem that offered far more entertaining possi¬ should be done. Basically, it is built on a knowledge
bilities than if they had been married for twenty years. of what business is best suited to the animation medi¬
Ml™ BiancaLs lack of regard for logic created real um. Every picture w ill have scenes that arc difficult to
SLlwitbns, and any conflicts between the two offered draw and scenes that cal! for experience and talent, but
unlimited possibilities to both the story men and the the hulk of the film should be made up of scenes that
■Animators. And all because we had changed their rela¬ are easy to do, should be effective and good-looking
tionship to one that could grow and remain active. on the screen, and should make the best possible use
Certainly many good plays have been written with no of the animation potential.
change in the way the characters feel about each other Here are a few guidelines that can help anyone judge
from beginning to end. but. generally, the story will the material before the animation is started:
not progress as easily if (he characters are not pro-
pressing too. Anytime there can be a development in I, Avoid scenes or activities that are only continui¬
their relationships, it will he easier to find business ty, This type of action is difficult to do convincingly
that will enrich their personalities and hold the interest and is always judged critically by an audience. If there
of the audience. is a mood to be established or scenic atmosphere is
We were so carried away by the potential of the needed, as in the dwarfs marching home from the
■changes we had made that we were inspired by Ken mine or the sequence in The Rescuers showing the
Anderson’s sketches to build a whole sequence about mice flying on the back of the albatross, then the conti-
Seem agents always should
be properly equipped before
starting out. These draw¬
ings by Ken Anderstm ex¬
plore the idea of a stock¬
room where mice check Old
equipment needed for fheir
missions. The many human
props adapted to the needs
of a mouse give charm and
scale. keeping the charac¬
ters small.

ammtok Trie Li
Lady and the Tn

Peg, the faded s

Dog and Pony ,
example of a dun
is believable but
istic. The animat*
restricted in acti
artist ■ Ralph Haled—The Rescuers.
press ions by Urn\
Captain Orville gains flying altitude over Manhattan before a real dag's ana
heading south. This type of dramatic scenic shot adds excite¬
ment to a normally dull sequence of characters moving from
374 one locale to another.
 nuity cun be secondary to the pictorial effect. Other-
with a definite and interesting attitude. Confronted
there is more interest in what happens once the
with (he problem, he develops Eiis own personality,
characters get where they are going than (here is in the
grows a little, shows who he is, makes his decision tor
laborious action of get ling there.
action, then does it in an entertaining way
2. Avoid scenes whose only function is to explain.
6. Ask yourself, "Can the story point be done in
SofiL ikes where die characters have lo stand around
caricature?" Be sure the scenes call for action, or
and talk arc always difficult, lie sure there is a situa-
acting that can he caricatured if you are to make a
[™ ^al S'ves the characters a definite attitude, or clear statement. Just to imitate nature, illustrate reali¬
Something to achieve, a disagreement, or a predica-
ty, or duplicate live action not only wastes the medium
mn\ to play out. Use a narrator or a title lo set up the
ot animation but puts an enormous burden on the ani¬
situation. Do run make the onstage actors do it.
mator, It should be believable, but not realistic.
3. Make sure the story incident or situation is really
7, Tell your story through the broad cartoon char¬
interesting. The actors must not be expected to carry
acters rather than the "straight" ones. There is no way
the story just by their acting. They should motivate the
to animate strong-enough attitudes, feelings, or expres¬
story; their personalities and the decisions they make
sions on realistic characters to get the communication
kwmc the backbone of the whole structure, but there
you should have. The more real, the less latitude for
must be a strong situation that has enough interest in
t lear communication. I ins is more easily done with
nself to hold the audience. Like the scene in Dttmho of
the cartoon characters who can carry the story with
Timothy taking [he drink, it should mot be left entirely
more interest and spirit anyway. Snow White was told
hi the animator to carry the story idea.
through the animals, the dwarfs, and the witch -not
4. Be sure the characters have an opportunity to
Through the prince or the queen or the huntsman. They
come to life. Wall always told us, 1 Find [he enter-
had vital roles, but their scenes were essentially situa¬
tiitujient in (he situation and in your characters. Don't
tion. Ihc girl herself was a real problem, hut she was
m hogged down in the story itself.’T Watch out for
helped by always working to a sympathetic animal or
continuous activity or exposition. Back up immedi-
a broad character. This is the old vaudeville (rick of
ately if you have both.
playing the pretty girl against the buffoon; it helps
5. Look for places to show the characters thinking. both characters.
Show them changing attitude, and look for ways to
(>ur own feelings were summed up very simply once
stow more facets of their personalities; they should
m a story meeting: "Just he sure you give us some¬
gmw through the film. Consider this: a strong silua-
thing to animate. Don t give us a scene where nothing
non has been established. The character comes into it happens!"

Story man lid! Pennor had an unusual problem in The "Yeah, he’s taking the tong walk "
tody and she Tramp with the sequence of the dogs in +Oh, well, a short life and a merry one. "
city pound. The inescapable fact that the unwanted These were familiar terms the audience understood.
animals are pm away at these places was a key part of Second, show thy dog only in silhouette, as a shadow,
the story and the thought had to be planted in this
to minimize identification. Third, change the dog's
sequence. The pathos of melancholy dogs behind bars name to ’Nutsy," and, fourth, give the animation to
is one thing, but taking an animal to the gas chamber
Cliff Nordhcrg with instructions, "Make it funny I"
bordered on the morbid and overdrama he in our me¬ Only C [iff could handle such an assignment He had
dium How could it be presented so that it was unmis¬ become known for his ability to create the unexpected,
takable, yet done with a liglu touch?
screwy actions where ordinary movements would have
Ed's solution: First, build a parallel with the live- sufficed. His talents gave a zany quality to mundane
aelinn prison films that had been so popular just a lew
situations and were just right for this delicate spot in
ycjrs earlier {The Big House, The Lust making
the picture No one doubted that Ntilsy was indeed
available cliches of dialogue and attitudes.
taking his last walk, but he was so comical about it
"Look, guys, they're takin' Jo-Jo," that no one could become overly concerned.
 Walt and the Storymen on film. Prior to 1935, his storymen had been trained
to look for the fresh,, the unexpected, the different,
Storymen are as diverse in their talents and interests as and to think in terms of caricature and exaggeration—
animators, They are not interchangeable and cannot he which they interpreted as meaning bizarre, wild, and
expected to do equally we El on every assignment. When impossible. The more outlandish, the better they liked
Watt wanted a certain result, he east his storymen with it. To them, anything real or sincere meant "straight”
the same perception and intuition he had displayed in and automatically would be dull. Now, since the
casting his animators. animators could do so much more, Walt had to pull his
led Sears and Peree Pearce were strong on charac¬ storymen hack and teach them new values of warmth
ter development and personalities, Bill Cottrell added and believahility, lie still wanted fresh situations and
good taste, appropriateness, anti judgment. Bill Peet funny predicaments, but he also wanted his characters
could come up with a whole new visual concept, to achieve maximum identity with the audience.
Erdman (Ed) Fenner ami Dick Creedon knew story I bis type of thinking is the ultimate in creativity.
structure and understood the mechanics of comedy, I he challenge to the story man plus the sli mutation of
Otto Englander was a veritable librarian of Walt's Waifs constant pressure—not to deliver, hut to search
discarded ideas that were too got>d to lose. The list and probe and discover—kept an air of constant excite¬
continues on, with each story man having his own indi¬ ment in the Story Department. It is not too difficult to I
vidual strengths and talents. think of cute bits of business that da I mat i an puppies
Wall never was interested in story structure, relying might do, especially when there are fifteen of them in
instead on his almost infallible intuition for what was one family, but the big idea that has them all watching
entertaining in any idea. He lore storyboards apart television like any family of kids is unique and comes
ruthlessly as he tried to find the spark that could be from a rare talent. The idea goes further, for the pro¬
developed into an unusual and memorable sequence gram they arc watching is a series featuring iheir idol
I hunderbolt, the Wonder Dog. The audience has no
wt always avoft-
trouble accepting this since they have seen it in their
a decision was
id story men and own homes night after night. It is completely believa¬
'fien had to catch ble and offers endless possibilities for business, per¬
e run. Here. a sonality touches, gags, and something entirely new on
>slim out in the
the screen. More than that, it is a warm, happy sequence
Joe Grant, cen
dck Kinney has that will play into the evil suspense of the puppies’ all
mpramptu story being kidnapped immediately following. Maybe it is
not genius, but it certainly is creativityf
Many people contributed ideas to that sequence,
with Walt leading the way, but the story man on all of
JO I Dalmatians was the talented, pungent, irascible
humorist from Indiana, Bill Peel. He shared some of
Walt’s feelings for farmlands, and his characters were
always somehow real and down-to-earth, no matter
bow Ian last ic the concept. His amazing powers of
observation enabled him to catch the essence of every¬
thing he drew, whether it was a boxcar on a freigbi
train or a Bavarian dwarf living under a lily pad. Fel-
low story man and sketch artist Ralph Wright, who was
better known for his great gags in the Goofy pictures,
once said that Bill was one of the tew “who dreamed
up real, live characters that lived and breathed and
thoughl and came from the heart of the story artist. "
Bill Peet always had a strong, overall concept of the
story material that integrated the humor in both the
characters and the situation. Rather than spot gags* his
integrity drove him to search out an idea that lifted the
situation out of the commonplace, and still left the
door open to further development in this new direc¬
tion. Yet after conceiving all this in his mind, he could
reject the entire notion if it did not work with the other
parts of the story*
Rili Peet poses for a photo
One such invention that later had to be discarded showing the storyman's
was Ishtar, the buzzard, in the early versions of The life: too much coffee, crum¬
Jungle Rook. Bill needed some way that the beasts of pled drawings, and not
even a place to sit. As both
prey could find out what was going on in other parts of
sketch artist and story-
the jungle, so they knew the movements of the hunter man, Rill hod a unique tal¬
Buldeo and the boy Mowgli. He could have had them ent for finding an entertain *
stalking about, peering through (he tall grass constantly, inf; way to tell a story in
situations that could be well
or listening to the warning cries of some bird of the
animated.
Indian jungles. But Bill found a more entertaining way
of lying it all together. Since buzzards do not kill, he The family of dalrnutians
had Ishtar in the humiliating position of having to get watch their favorite TV
program together like any
his meals from the scraps left by the tiger and leopard
human family, in this imagi¬
and the wolves. Being enterprising as well as hungry, native and entertaining se¬
he promoted himself and his eventual meals by ex- quence in 101 Dalmatians,
 No one had an easy lime with Walt or found him
particularly comfortable to be around, and anyone as
argumentative as Bill wras bound to compound the
problem. Still, he enjoyed a rare rapport with his boss
that led Walt to relax more in Bill’s room than in most
others. This was not always to BilPs advantage. He
told of one morning when Walt dropped in with a
terrible cold and flopped in an easy chair in front of
the boards. It was clear that he should be home in bed
instead of roaming the halls writh watery eyes and a
stuffed-up nose. He admitted, “My head feels like a
block of cement," but quickly he set his jaw in a
defiant attitude and continued, “but I’m not giving in
to it!" Bill smiled weakly; then Walt, with a heavy
sigh tinged with determination, went on, "Well, what
the hell ya got here, Bill?" The boards were not
approved, and that afternoon Bill started work on a
new version of the material.
Walt's passing moods had a profound effect on both
his judgment and his behavior, and on his dark days he
was apt to rip a storyboard apart for no apparent rea¬
son. Bill always claimed that there were actually three
different Walts: the dreamer, the realist, and the spoil¬
changing bits of information that these beasts might er, You never knew which one was coming into your
need or find interesting—especially information about meeting. Bill quipped, "You have to phone down Eo
the location of a prospective meal for everyone. the front gate and ask the cop which Wall came in this
But alt of these meat-eating animals moved by night, morning."
and the buzzard is not equipped for traveling in the The biggest problem the story men had with Wall
dark. He was always suggesting, “ Perhaps we can go was that he never would look where they were pointing
first thing in the morning . . ." only to be cut off by a when they explained the action on the hoards. Usually
growling. “Now!” And as he ran off in pursuit of his he already had seen everything in the room a couple of
benefactor, bumping into trees and stumbling, we heard nights before and was not even thinking about what
his voice crying, whining, “But why does it have to was being said, but he also had the knack of listening
be now? It's dark and . , . Oof . . . maybe we could with one ear w hile completely engrossed in something
, , . glkk. . , . How about at the crack of dawn , , . else. Nothing ever slipped by the man,
Ooooff Webb Smith started off one meeting by asking Walt,
None of these predators liked the buzzard, but they “Do you see this drawing up here?" Walt assured him
often liked the information he brought them, which he did. Webb continued, "And you see this drawing
presented a strong relationship on which to build their down here?" Walt grunted a reply but his curiosity
personalities. It is always good to know how one char¬ was piqued, Webb concluded. “Well, when I’m talking
acter feels about another. But Rill thought he was on about this sketch up here, I don't want you looking at
the wrong track and tossed out both the character and this sketch down here." Walt laughed, but deliber¬
the situation. Realizing it was more important to de¬ ately looked everywhere except where Webh was
velop a very believable relationship between the pan¬ pointing from then on.
ther and Mowgli, he found this weakened by the comic With Walt's policy of seldom using a single story man
antics of other characters. working alone, there was always a temptation for each
 man to build his own private storyboard over in a
its production, J naturally assumed that I would start
comer instead of working together on a common effort.
at (he beginning of the story on a sequence of Mickey
Raiph Wright insists that this is what happened on the
Mouse showing off as an ice skater. Walt dropped
short. The Art Of Skiing. One story man had all his
in unannounced, sat down, and began looking a! the
business going from right to left, while the other had
story sketches. He said, tL The picture, as it is, is text
his gags going left to right. When Walt tried to com¬
long, Then he pointed to two sequences that were
bine their efforts, the directions simply did not work
pretty far down in the story. The first involved
After an annoyed silence, someone suggested, * W hy
Donald Duck and Pluto. Donald strapped a pair of
don t you use this stuff of the Goof going to the top of
ice skates to Pluto s paws while Pluto was asleep,
the hill and getting ready to make his descent down the
Donald then yowled like a cat, waking Pluto up in
steep slope facing him, then suddenly have him shoot
an agitated state, Pluto’s first thought was to take
backwards down the slope he has just climbed; that’ll
off in pursuit of the sound. He hit the ice and skidded
make him going the correct direction for the rest of the around badly, and so forth,
business. It also made the funniest gag in the picture.
1’he second sequence presented Goofy as an ice
To Ren Sliarpsteen, Walt was the whole story' de¬
fisherman on the same frozen pond. He had clu a
partment, no matter who was working for him. From
hole in the ice, and then hud dropped bits of chewing
tht. position ot director and occasionally supervising
tobacco into it, with the intention of clubbing the
director, Ben had a special view of what went on. He
11 sh as they came up to spit in the cuspidor he had
said, Walt's acting and storytelling ability were an
provided. Being Goofy, however, he kepi missing
important feature in the success of the studio. He had a
them, This sequence was a perfect companion for
terrific personality tor telling stories in such a way that
the Pluto sequence, because we could leave Pluto in
the animators and directors were thoroughly confident
a helpless situation and then cut back to Goofy and
and believed in them. He could tell a story so that you
his troubles without wasting time on transitional
could see it as it would appear on (he screen. I cannot footage.
give the man too much credit/'
Walt said, ’ Here you’ve got twro great situations
Ben went on to relate how Walt helped the director
It isn t important how we lead up to (hem. Now
of the picture as well.
after you get them done anti you know how much
footage they use. then you can go back and build
I was assigned to direct On fee. As I began to plan
your beginning/' Walt proceeded to describe the

This is the final continuity of the attempt to kill Snow White

The audience Had never before been asked to believe thus m
actual murder could take place in a cartoon. Would thev
believe this?
 various ways that Pluto would try to gel up on his montage, a collection of scenes cut together to give an
fact again, only to Hop down. He went through the overall mood rather than a specific continuity. Dr.
whole routine. He also described Goofy's fishing Jekylt and Mr. Hyde, starring Fredric March, contained
problems. He concluded by saying. “Mow when ei gripping transformation from gentleman to beast right
Goofy is completely outwitted by those fish, (hen before our eyes. The film Private Worlds explored the
they aJ] come up as a group and spit in the cuspidor minds of psychotic individuals in an institution, with
And why don't you consider playing a little tune? one particular girl named Sally, who heard her name
Some sort of a little tune with the spit hitting the called over and over in a fading echo. The sound track
cuspidor. We ended tip by using urhat musicians was beginning to be used to interpret feelings and
call a “break1 They wfere high spots in the fin¬ sensations in addition to just carrying the dialogue.
ished picture. This experience was a valuable lesson Film had come of age as a medium of expression and
for me,
Walt would not be left behind. He would find ways to
adapt many of these ideas in an imaginative way to the
A clear example of how Walt worked with the story limitations and strengths of the cartoon
material is found in the sequence in Snow While in He wondered what he could do with his own se^
which the Huntsman tries to kill the young girl. The quence of an attempted murder, a burly killer who
original version of this classic fairy tale may say, “So cannot cany out his mission. It all sounded so realistic,
Ik queen ordered a faithful servant to kill the girl, so straight, so emotional and dramatic, and none of
bui, instead, he told her to flee into the woods. “ The those elements ever had been considered for animation
scene could have lieen played that way, with our art- before. More than once he asked, “Can it be done?
i>ts illustrating the action in a few pictorial scenes, but Can we find a way to bring it off?” It was one thing to
that was not nearly enough for Walt, lie felt there
have the girl singing to a group of animals, and quite
could be an exciting moment at this spot, and there
another to present two human characters gripped by
bd to he some way we could do it in cartoon. Could intense emotions. How could he do it?
we possibly adapt any of the techniques of the current
His first thought was to have the Huntsman a real
live-action cinema?
villain, a heavy, with a “voice that is rusty and
It was a lime of stimulating advances and experi¬
cracked.” He would have a name, Humbert, and would
ments as new areas of communication wrere being
be a definite personality, like Wallace Beery, only
explored Many exciting uses were being made of the
meaner. His daily job was to kill, and perhaps he even

THe Huntsmati’ faithful to the yuwfs orders, advances stealthily as the girt comforts a lost baby bird
looked forward to This particular task. “When the should be stretched out, reaching for a particular flower
Queen says, 'kill her/ the Huntsman’s face brightens in the cranny of a rock. She would be more vulnerable
up as though he wants to do it.1' Here was real menace. and make a better target as the dagger was raised, and
The girl had been sent out to pick flowers, so the one lone flower would be more symbolic of the lonelv-H
J
sequence should start on a happy note with no hint of girl.
trouble. Then gradually the suspense would start to Walt began to fed that even though the flowers
build as Humbert sees his opportunity, draws his knife, represented innocence they lacked warmth, and maybe
and approaches cautiously. When something causes changing to an animal or a bird that could respond to
him to fail to carry out his bloody assignment, there is Snow White would give a stronger situation. If she
considerable dialogue explaining what he had been were helping an animal in trouble there would be great
told to do, why he could not do it, and what Snow contrast to the evil approaching behind her, and it
White should do now. would help build her character as well. Immediately
This first version told the story with melodramatic the ideas began pouring in.
excitement, but. if it had been sent down to the unima "Should the bird he sick, or have a broken
tors at that point, it would have bee it difficult to do wing , . „ ?"
and undoubtedly very clumsy on the screen. It was a L1 don’t see that it is sick, but just like a little kid
live-action situation with delicate acting. The anima¬ who is lost and is frightened, crying, . .
tors would not be able to get hold of either character '’She asks, 'Are you an orphan?'*1
without endless study of film, and even then there was , . gel a little baby bird idea there, ... It is
the danger that the result would be only a crude sym¬ innocent, paralleling her own situation."
bol, contorted by restricted movements and weight¬ Looking over the sketches on the hoard. Wall could
lessness. There had to be more thought, more refine¬ see that too much time was being spent on unimportant
ment, more adaptation, before this would be right for action. The preceding sequence had developed with a
animation. strong ending, and you knew of the consuming jeal¬
More story meetings were held, and many more ousy of the queen as she assigned the grim task to her
drawings were made and pinned on the boards. Instead faithful servant. This was no lime to start a new idea.
of picking a bouquet of flowers, perhaps Snow White He commented, "The moment she tells the Huntsman

mm
10 kill Snow White we fade out and fade in on the on (he board. Are we doing it the right way? Will it
thing being carried out—make it move faster/’ And work? Maybe if we just kept it short and direct and
the dialogue at the end had to be broken up with more stick righ( to the point, and do not develop the Hunts¬
action between the lines. “That would be belter than a man as much; play out the situation, but do not get
lung bunch of dialogue. She would ask short questions involved with him. Walt suggested that (hey work on
—and he would answer with short answers.51 the dramatics ot the whole thing, keeping the Hunts¬
There was a big discussion about how Humbert man in shadow1, showing only his feet as he comes
would weaken and when he should drop the knife. forward, . , and hear the crunching of the leaves
"I think it would be a stronger picture if she just and twigs/’ This would build it in the audience+s imag¬
turns around and sees the knife over her. It would be ination more. “When you get close-ups of faces you
more dramatic. . . /' have to tell them too much and you lose imagination/'
l'I think it would be better if he dropped the knife No one ever had done anything like this before, and
when her back is turned/1 it was imperative that the audience accept it the way it
Walt stared at (he board, his fingers drumming on was intended If they laughed at the Huntsman, it
(he aim of (he chair, one eyebrow down. There was a would mean that the audience had not been drawn into
Jong silence, then unexpectedly, “Maybe we could the situation and could not take his type of handling
speed the whole thing up—or, maybe there is a belter seriously in a cartoon. They must believe that this
way we can do it. Maybe we don’t need this situation animated figure existed and really was going to kill the
with her at all!"1 girl. There was good reason for Walt to wonder.
There was another silence as the fellows in the meet¬ Still he kept coming back to the same ingredients as
ing tried to consider this proposal. Finally one sug¬ being the right way to go. In a story meeting in June
gested, “A fellow like the Huntsman who is sent out he was able to outline what he thought were the bes<
on a job should do it. A fellow like that wouldn't ideas, and though there were more refinements as the
confess that he couldn't do it.11 sequence went through the plant this is essentially the
Another silence. way it was done Note the length of this meeting,
’’You could have her escape. ...” Saturday, from 8:00 to 1:00, was a regular work period
More thought and more meetings and more sketches in those days.

raws his knife to sir ike, but cannot go through with rhe deed. and. dropping to his knees, urges the confused and frightened princess to fie-
 SEQUENCE A—SNOW WHITE AND THE she is talking to the little bird and saying things to
HUNTSMAN IN THE WOODS cheer it up, here come (he feet slow with a hesi¬
Meeting held: Saturday, June 27, 1936—8:45 a.m. tating step—it could be the kind of a step that is
to 1:00 p, M. trying to be light.
Present were: Larry: Would you see the shadows on the ground?
Wall Joe Grant Walt: Yes, bu< the shadows are so that they carry
Frank ChurchUI Bill Cottrell through. She is there with the little bird and right
Charles Philippi Larry Morey behind comes the shadow—build up the shadow
Rob Kuwahara and the knife.
Walt: Snow White is to be picking flowers—so that Joe: We just get a flash of the knife as it is being
when you open up on the setup here there is a pulled.
menace right off the bat—you just cut to a shot of Walt: We just flash on the shining article—cat (o
the Huntsman there with just his eyes looking. her and she kisses the little bird and it flies away
What I see there she is trying to help the little —then we cut back to the knife over her and it
bird and then the Huntsman starts to come to her begins to shake, hand opens and knife drops.
with the knife, and you cut to the Huntsman as he Maybe he could drop down right in the scene, and
pulls the knife out and have a s!owr walk on him she takes it as he says FORGIVE me YOUR HTGH-
out of the scene—that is the last you see of the NESS. Snow White is up there like she can’t
Huntsman, except his feet approaching. While understand it—why. Humbert? what is it? and

■n though both char*

■ are limited in their
is by the extremely
tie handling, this se-
e has great impact
vas a milestone in
ig that animation
present strong emo¬
st! not ions convine-
 Humbert could say, 1 COULDN'T do it your HIGH is this: “Siting the whole thing up-—do you think lhal,
NESS—Snow While says, WHAT?—Humbert: t generally, we are on the right track for a thing like
CANT KILL YOU FOR HER—Show While says, this, or do you think it is too heavy?" There was no
WHO? Humbert says, THE QUEEN, THE QUEEN, precedent to guide them and no way to test the sequence
(VO GQ GO AND NEVER RETURN TO THE CASTLE until it was completed in color. No one could say for
FOR THE SAKE OF NOT ONLY YOURSELF, BUT FOR sure, hut Walt stuck by his intuition and decided to go
THOSE WHO LOVE YOU, DON’T RETURN. Maybe ahead with it.
be could end up with GO GO GO. She is confused Today, we easily can see the ingredients that made
and runs off and maybe cut back to a shot of him it work so well. The crew concentrated on just the
in a breakdown quiver position at the Iasi. Get a essence ot the story situation, no! Letting any part
shut of the woods and she doesn't know what to become overdeveloped; they used carefully planned
do, bui just goes on, hesitating at the beginning, dramatic staging rather than explanatory scenes; and
but goes on deeper and deeper—maybe you could they underplayed (he emotional aspects of the acting
carry that "SALLY. SALLY" idea of KILL YOU— instead of calling for overwrought, tormented histrion¬
who?—THE QUEEN—building in the little things ics. As a result, the audiences were swept along, caught
the Huntsman said to her. And always that GO in a web of their own imagination, convinced of the
GO GO when she stops. intensity that never was actually shown. The less they
were told, (he more they filled in with their own
Surprisingly, the next quote from Walt on those notes thoughts; and the less that was said, the more they
seemed to understand. As little as was shown on the I hints man after Snow White screams—just a flash
Huntsman, he probably ended up with more substance to a close-up front view of him.
as a character than ever had been planned. Dave: We have discussed that to show his hand
By March of the following year, the animation had relaxing and the knife dropping, but it’s a good
been completed, and. as usual, several of the points so point and I'm glad to have it. We are going to
thoroughly discussed were not coming off. Alternative do it slower and have more furliveness in his
ways of doing some of the things would have to be movements.
found, and in this transcript of another meeting, Super¬ Creedon: He walks like he is going lo meet some¬
vising Director Dave Hand explains the ideas they arc thing. He should be moving sideways or creeping
considering as he listens to the reaction of the staff. back of something.
Incidentally, the hours of 5 to 6:30 were not normal Dave: I recall a general reaction. People were agree¬
working hours, but reflect the overtime that already ably surprised with the animation, it didn’t look
was expected of the personnel in order to complete the so bad.
film. Creedon: I was agreeably surprised, i tearing the
voice alone, I thought it would be ham.
SEQUENCE 3A—SNOW WHITE AND THE Dave: We still intend to get another character voice
HUNTSMAN IN THE WOODS and do it over.
Meeting held: March 17, 1937—5:00 P.M. to Buchanan: Thai's a pretty high cliff she falls over.
6:30 P.M. Sweatbox 4 Dave: We have had a discussion of that, and we fell
Present were: it should be a shorter drop—many of us,
Vern Papineau Ford Beebe Buchanan: If s too dangerous it might kill her.
Ted Baker John Hubley
Jaxon Kmest Nordli The scene of the feet was replaced by a shot of the
Stuart Buchanan Harold Miles Huntsman's face coming closer and closer, but with
Ken Anderson Charles Philippi no change of expression. The menace of seeing the
Terrel] Stapp Tom Cod rick stealthy feet had sounded so good in the story meet¬
George Gtapper Les Nov ros ings, but even Walt agreed that the replacement looked!
Dick Creedon Mare Davis better. What is more interesting is the thought repre¬
Hugh Hennesy Dave Hand sented by the last three comments on the page. The
Grim Nat wick Mike Hoi oho If cliff is too high . , , it might kill her! The girl had
Grim: I didn’t care for the shot of the Huntsman's become as real to the crew of story men as she did laict
feel very much—it didn't seem strong enough for to the audience. No one ever worried about Donald
the place it was in—it seemed a little clownish. Duck failing too far!
Dave: Yes, we are retiming it and possibly teshoot- This sequence has become a classic of communica¬
ing it. tion with the audience. Everyone was drawn into the
Grim: the feet don't seem strong enough for the picture in a way that made the events that followed
situation. J feel you want something big and dra¬ have a greater impact. It was melodramatic without
ma! ic, 1 think the shot doesn’t even show the feel becoming saccharine. Perhaps the sincerity of all who
off to advantage. You're expecting something worked on it contributed the most lo making it such a
ominous and all you see is a pair of feet. A knife successful part of an outstanding film.
would represent what was going to happen better
than a pair of feet. Dialogue
Dave: A shadow comes in first, then the feet. We
speak of having the feet step on her bouquet of The easiest way to develop a story is to do iI nil with
flowers as he conies through the scene. dialogue between the characters, explaining everything
Tom: I think there ought to be a cut (here to the the audience needs to know. But, as Alfred Hitchcock
said, "When we tell a story in cinema, we should character is not acting, he is not ’living/" They had
resort to dialogue only when it’s impossible to do to know the feelings that go deeper than words before
otherwise..Hie hardest way to develop a story is to they could find the strong attitudes that would make
toil all with pantomime. While it is true that a charac¬ the situation believable.
ter seldom comes to life as a specific personality until T here were four major rules to writing dialogue:
the voice is added, there is also Dopey who made no
sounds, Pluto who only howled and panted, and Donald Rule 1. Do not write dialogue that describes what
Duck whose dialogue was fifty percent unintelligible. you are seeing. If a character is panting and sweating
Still, most of the great characters owed much not only from the heat, the last thing he needs is a line that
to the voice but to the carefully selected lines they stales, "Boy, am I hot!" Or if he has started to leave,
said, it is too late to comment. "Well, 1 guess I’ll go now,"
Walt usually left out the dialogue until a sequence His words should reflect his feelings about what is
had been developed to the point where he could see happening, and be written in a way that enriches his
just how little was really needed. If the idea could be personality.
put over with an ex press ion, an action or a sound
effect, or with music, he would not use dialogue. The Rule 2, The words and the thought behind them should
story man had to think in visual terms first, and when be special to this one character. No one else would
be did write dialogue it had to tell something about the say things quite this way. Look for unique wording,
character and not be exposition. Walt insisted that no colloquial phrases, colorful expressions that are right
one wants to sec a character chewing away tin a bunch for this one particular character.
of words when a provocative situation is developing.
The audience wants to see what is going to happen, Ride 3. Dialogue must he written so there is some¬
and the story man only wants the dialogue that will thing to animate. It has to reflect an attitude that can
fortify and sharpen his story and the personalities. be drawn or an emotion that can be shown. Exposition
Hitchcock also said, "To me one of the cardinal is deadly, and too many words water down strong
sins for a scriptwriter, when he runs into some diffi¬ attitudes. No one can keep any strength in a long line
culty, is to say, 'We can cover that by a line of dia¬ of dialogue.
logue.' Dialogue should he a sound among other
sounds, just something that comes out of the mouths Rule 4, Dialogue must be written so the actor doing
of people whose eyes tell the story in visual terms."5 the voice can contribute something. Without changing
Perhaps that idea is too austere for the cartoon that has the meaning of the line, it is usually possible lo give it
to rely on character and personality so heavily, but it is more life by rephrasing or adding a (ouch that gives
veiy true ot words that try to carry the meaning of the the actor a better chance. Often a chuckle, a sigh, a
scenes. stulter, swallow , or gulp will reveal more of the per¬
One producer at Disney 's insisted that it a character sonality than the words themselves. Other times, the
said he felt a certain way. that was all that was needed actor may have an intimate knowledge of folk phrases
That would establish the fact and the audience would from certain regions that will help build a more inter¬
lave to believe it. But it does not work like that. It is esting character.
wi enough simply to proclaim that a character is mad
or worried or impatient. There must be business to The voice talent usually is eager to help develop a
support tile slate merit and a situation in which he can unique character, especially one tha( is understood
demonstrate these emotions if the audience is to be thoroughly, and this contribution should be encour¬
convinced that it is so. Until the viewer feels the emo¬ aged. However, in the early days of wild chases and
tions, (oo, he is not impressed with the words. violent action, there was little opportunity for the
The animators expressed it simply: "Anyone who nuances of an individual personality. As one actor
merely states his feelings is not acting, and if a cartoon admitted wryly, "Ifs a little difficult to build a strong
in Larry Clemmons character when ail you say is "Oof . , . ugh . „ , yow
'Mitred just before
. . , yip, and WheeeT but it’s still important to do
irement by Ward
l. what you can,”
Occasionally, the dialogue would he written before
the sketches were made if an outline had been approved
and the writer had a strong idea of how the sequences
should play. Larry Clemmons, who had been in ani¬
mation during the thirties, then left to write for radio
before returning to the studio, had a talent for brisk
dialogue that gave everyone a feeling for the charac¬
ters and the entertainment potential in a situation. He
always wrote scripts, then asked the story sketch man
to follow them as closely as possible. If the sketch
man evas not alert, he would end up merely illustrating
what was being said and not adding any new ideas or
approaches to die problem from a visual standpoint
Woolie Re it he rm an directed these films, and, while he
enjoyed the word-gags and the play between diame¬
ters, he knew that there had to he a new ingredient
added to make the sequence do its job. He would
complain, “There's nothing happening! I want a hap¬
pening! I’ve heard enough words—I want something
going on now. I want attitudes , , , you have to knew
<ii Vance Gerry tries how they’re feeling, what they’re thinking before you
t costumes, expres¬
and attitudes for can tell if the words are right!” Story men must have
the little star o/Thc the patience and energy to try many things before
s. settling on a direction.
 a
k

Vance Gerry, who did both sior>r and story sketch, the little girl was the very heart of the picture, all of us
hit upon the hes! solution. He used Larry’s script as a decided her introduction should be in a situation with a
guide and a basis, but set it aside while he started strong heart-tug right from the start. We wanted the
making the drawings that seemed to fit the situation. audience to become involved with Penny and her feel¬
One drawing led to another as he explored various ings as quickly and forcefully as possible, so our first
ways of handling the characters as well as the whole sequence of her became the one in the orphanage right
mood of the sequence. Eventually, he was able to pin after she has been passed over for adoption.
up a continuity that included actions that could be In the story meetings, we had considered having
animated, business that developed tlie characters, and Penny do a little act for the prospective parents, some
pantomime that strengthened the relationships. At that little song or dance: something she thought she did
point he had a meeting, and all the ideas were pre¬ well and on wrhieh she could pin her hopes for adop¬
sented. Following that, Larry would rewrite and Vance tion—something she hoped would make a mother and
would redraw, but bit by bit they came together and father want her. If she did her best and failed, we
the result was a unique* convincing sequence that knew there wrou!d be a strong empathy from the audi¬
probably could not have been achieved by any other ence, But it also would necessitate showing the visi¬
process, tors watch her act and perhaps part of the act of the
A good example of (his cooperation is the introduc¬ little red-haired girl who finally would be chosen. It
tion of the little girl Penny in The Rescuers. It had had good pathos, but also problems with the added
ken assumed that (he proper way to introduce her characters and more footage to put over the additional
would be in a happy sequence where the audience business,
could be taken by the appeal of a cheerful, spunky Vance Gerry had been exploring the appearance of
child. She was an orphan who wanted very much to be the bedroom in the orphanage for the next pan of the
adopted, hut it was felt that any sad scenes would have sequence, and Larry Clemmons had written some poign¬
more impact if she were seen first in happier circum¬ ant lines between the little girl and the orphanage cat
stances. A whole sequence was written, sketched, and Rufus, as he is trying to find out what had happened.
partially animated of her on a visit to the zoo. Penny responds,*'They looked at me, but they choosed
When it wras discovered later on that the pathos of a little red-headed girl—she was prettier than me.”

Vance's suggest i
Penny's bed in the
of the big riww in
phanage. Site ha
passed aver for ado}
this day and is sit.
alone trying to ho,
the tears. Rufus,
cat. knows somet
wrong and goes to i
can help.
This sequence is the intro¬
duction of Penny, so the
strongest statement possi¬
ble must be made to estab¬
lish the pathos of the situa¬
tion and show the warmth
of the friendship between
the girl and the eat. Vance
explores several ideas on
this, showing front views,
back views, side views„ the
position of the bed and how
Penny wilt look sitting on
it. What is the best imv to
reach our and touch the
audience? At times, a sim¬
ple attitude is all that is
needed: if the animator
tries to do too much, he wilt
break the mood he is at¬ Between that line and Vance'a drawings* there was no
tempting to create.
need tor any other introduction. Her first scene in the
Drawings from the actual picture showed her sitting on her bed, all alone, in
scenes in the picture show the orphanage.
how all of this planning and
Now we had to concentrate on the strongest state¬
experimenting paid off, The
moves are subtle, hut the ment we could make tor a sad* lonely girl. We had to
thinking is broad, and the have warmth, communication* and sincerity, and the
impact of the scenes is girl had to be handled as a real girl in a real situation.
powerful. If the animator
There was no latitude for broad drawing or caricatured
had thought1"subtle'' in his
planning, the scenes would expressions. What had to he caricatured was the film
not have communicated at approach to getting the audience to feel for this girl
all, and her problems, it had to be immediate* succinct*
and compelling. This was our heroine and she had to
captivate the audience from the very first scene* with
no false moves and no confusion, it was a delicate
situation and required delicate handling. The moves
would be subtle, but the planning had to he powerful.
Vance Gerry did charming drawings of the girl and
the cat. He tried different uniforms for her and re¬
searched (he kind of bed she would have* as well as
the character of the room in which the orphans slept.
jS 7 [uHfiT'S HCMrtV The size of the room and the position of Penny's bed
"?■
mv, Nf^rm w<£- - . . in it were both important. He tried various types of
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staging, showing the girl from the front, the side, and audiences around the world and raised people’s spir¬
the back. Each view offered something special, and its, and that must be worthwhile.
the relationship to the cat varied with each angle, too. William Faulkner said that the only subjects worth
He could squeeze under her arm in the front view hut writing about were "the problems of the human heart
not in the others—without an awkward move—and we in conflict with itself," He went on to say that it was
were searching for the bold statements that would flow the poet's and writer's duty and "privilege to help
smoothly and naturally. man endure by lifting his heart, by reminding him of
The animator who was given the responsibility for the courage and honor and hope and pride and com¬
ibis crucial sequence decided that the rear view of the passion and pity and sacrifice which have been the
cat and girl was the best for the first scene.6 Somehow, glory of his past."7 Even the cartoon can try for such
she looked more vulnerable with the sloping shoulders ideals.
and little neck, and it allowed him to hold off the first AfifMA TOR:

actual view of the girl's face until later, when it would The Rese
have more impact. The back view was also a good The raufr
together
angle for the cat's action as he rubbed against her * i ...ft
from the i
affectionately and tried to look up into her face, Many r - ifl if so ivorit
■.. ■■ ■■1
of (he expressions were then played off the cat because I'1 »fL,i r,„|. r,i, till) ii*-?
itr* T t “ 'f Si “ J h* sketches,
if.'-Kir*.
his face was so much more pliable. Ilis chin could cnee will
of the tin
tumble as he was on (he verge of tears without being
shin neck
overly dramatic. It was hoped that the audience would ders wfi
have empathy for (he girl through him. When she it gainst h
finally does turn so that her face can be seen, there is a mi he st
dot fine,
leaf railing down her cheek, but no real dramatic
choused.
expression—just a sad, little face. With the build-up girl." At
preceding, it was all that was needed. little face
will have
When the picture was released, we received a letter
any atte,
from a jaded critic with this comment: "That scene acting.
made me cry—which surprised met From then on, J
cared very much about what happened to Penny. Maybe
The si
it was the dialogue, or her expression, or the RLR’ are used
FttT voice . . , but something moved me as no other has a mi
cartoon movie has before." His react,
dialogue
We always wonder if we are going too far, or would ht
shotting too high, in our attempts to get real feelings emotions
portrayed in our medium We cannot he too dramatic the face <
with our characters , and if we start to copy real theater
we look silly. Yet, within our limitations, we have
found ways to develop emotions that have touched

dOoLDWT 8£,
•9
is. Character Development

"l think you Hove to know these fellows definitely before you can draw them. When you start to caricature a
'person, you can* r do it without knowing the person. Take Laurel and Hardy for example; everybody can see Laurel
doing certain things because they know Laurel, Walt Disney

Wall's development of a cartoon’s characters was ment of the seven dwarfs: (heir relationships with each
completely intuitive, He never had to analyze the ways other, and how they would move and act in every
he might establish them or find their personalities, He situation. Many of the staff could not see beyond just
never worried about their motivations or searched for finding something for seven characters to do while on
techniques to make them believable. There was no the screen together, but Walt was looking for much
problem in how to integrate them into the story; they more. He knew that the development of rich personali¬
were the story. He could not conceive of business that ties would be crucial to this story, and it was a part of
did not relate to a specific personality. He had such a the picture-making that he particularly enjoyed. Walt
great fed for the entertainment in any situation that all was so immersed in these characters that at times, as
of these considerations were automatic. From the he talked and acted out the roles as he saw them, he Watt's acting wl
beginning, these characters had been real to him: the forgot that we w'ere there. We loved to watch him; his neous and rich v
(ask now was to make them as interesting as possible. feeling about the characters was contagious, Each that were sped a
He could act an
In November, 1936, we started having weekly meet¬ succeeding week he refined and strengthened his con¬ character and gh
ings at night to talk of nothing but character develop¬ ception, and ours, loo. We would think to ourselves, into the personal
doore—

: and canltm-
tpy bickered
ch of Snow
<as easily flu a-
’ble to find the
>express him-
car chin g, he
t blurt out
■heal remarks
ling what he

“Gee, if [ could just gel my hands oil that scene of is that way, in that when he becomes flustered, he
Doe and Grumpy the way he's talking about it. Boy, I stammers for words,
can see it so clearly!" "Ele has ibis habit of getting mixed up, only when
Walt was saying, "Doc is upset by the (east little he is upset or when he is angered or when he meeis
thing, the least little annoyance. He doesn't know where Snow While. When he meets Snow White, he is like a
he is; somebody has to help him out—that is, as far as fellow meeting a girl—gels awfully flustered—sort of
mental reaction or personality is concerned. When an inferiority complex,"
Snow While says she is a princess, he becomes all Another night, Walt was talking about Dopey. It
flustered and gets his words mixed up; and, when tie was not jusi his personality but his physical appear¬
finally does get the word, he says the wrong one. For ance, too. As Walt described (his liille character, we
instance, when Doc says, ‘we are honored, we are—' could see how we should draw him, from his propor¬
She hesitates, he doesn't know what to say; Grumpy tions down to how he would stand.
then comes in and feeds him the wrong word: 'mad as
ed the early
)opeyfar hav- hornets/ and Doc immediately picks up what Grumpy Dec. 9, 1936
t anatomy. says before he realizes what Grumpy says. I think Doc Walt: Dopey isn’t cute looking in these drawings.
His body should be longer and his legs shorter.
You should have the feeling about him that he is
wearing somebody's cast-off coal, noi as though
he wore a big gown or something. He shows loo
much anatomy. E don't think you would see ii in
this little guy.
Babbitt: Do you see him quite erect most of the
lime?
Walt: Yes. alert. That would come right in with
sprightlincss. When anything happens. Dopey
runs as fast as he can and gets ahead of the other
dwarfs—turns around and looks hack like a kid.
Langdon had that kid action. 1 le would hold on to
his hat when running along whh some fellows, h
one of Langdon's pictures, in a factory sequence,
Langdon was Invited by some of the fellows logo
along with them after work. The idea of his being
taken along made him happy just to be with them.
They ignored him and he would run ahead of ihem
 has to see somebody else do it before be can do it."
The most stimulating part of all this to the animators
was that everything Walt was suggesting could be ani¬
mated. It was not awkward continuity or realistic illus¬
trations but actions that were familiar to everyone. It
would not be easy for the animators, but it would be
fun. It seemed such a short time ago that (hey were
animating spindly legged, weightless Mickeys and
Minnies with their superficial little relationships. Occa¬
sionally there had been a glimmer of things to come in
pictures like Elmer Elephant and Country Cousin,
where there hud been a special character who had
E*nd look back (ike a kid. i feel that Dopey would strong feelings about what was happening, hut for the
Ixr the same kind of guy—glad to be in on any¬ most part this was all new . and it seemed as though it
thing. hud blossomed overnight. Now we sat entranced as
Walt talked about these seven little men who were
After the meeting, one of the men jotted down some becoming as much flesh and blood as the person sit¬
notes: 4 "Walt is so aware of the fact that it would be ting next to us; and while the problems they faced in
easy to make Dopey imbed lie and he doesn't want their make-believe world were extraordinary, we could
that because it's not funny—he just wants him child¬ grasp them and could feel them ourselves.
ish-appealing. It's elusive, but Walt always seems to These characters were dealing with life and death
have a way of seeing it so that it’s l ight. Like the way problems, sometimes in a humorous way, sometimes
he talks about when Doc goes into his thinking pose, serious, but always sincere and believable, and each
and Dopey is trying to do the same thing. He has his according to his own personality. This was real char¬
fingers up to the side of his face, and his finger slips acter acting, and it was all so easy when Wall explained
and goes in his eye. He is trying to imitate Doc there. how it should he. It could be funnier, or more serious,
But he has never spent any lime dunking before and he or more fanciful, but the crucial relationships had been

{.APS
To

At<Q The final mod*

done by Fred
iH , rt jTT> ^ the childish >
Walt wanted.
 O'Connor— established and the criticisms now were all minor in got into drugs.”
EC.
terms of character development, Without Walt's intui¬ We started on each of our characters in much the
dwarfs, chased tion, how do you build a character? How do you deter¬ same manner. Usually the storymen searched for (he
rp the mountain
mine what is interesting? How do you know if it is broad type of person that would fit the story, concen¬
fh. the staging,
i cutting alt had right for your story? trating on the general aspects rather than the refine¬
situation d.T real An article by drama critic Charles Champ!in in the ments, One storyman enrolled in a writing class to
fble. This series Los Angeles Times tells how John Hurt went about improve his skills and was surprised to find that the
ms shows ti dra-
character development in his portrayal of Max in the same advice was pan of the young writer’s curricu¬
t'pl not found in
cartoons. film Midnight Express. "In the superb way (hat actors lum. He reported, “You must develop character traits,
can, Hurt seemed to have built the character of Max you must think out—what sort of person is this? What
from the inside out, investing him with a past and a kind of background does he come from? Is he an angry
persona only hinted at in the script.” Champlin quotes character? A happy character? A foolish character-
Hurt in some detail on his creative approach to build¬ how would he react? He might always carry a cane, he
ing Max's character. “Without knowing/' Hurt says, might have a twitch when he moves, he might have a
’ i imagined that he was of a very good family. Lots of habit of lighting his pipe. What sort of clothes would
money. And that he had gone to a very good school. he wear, how would he move? Well, this is what we
Harrow, maybe, or Eton, And that he had started at were doing (at the studio]. We w ere drawing the Goof
Oxford, probably, but dropped out as a lot did in the and having his pants hang down, and you have a vest
60s and hit the eastern (rail Eh at was popular then and that doesn't fit. . ,

i£f

Hive humor that

with the ‘ How
shorts can he
ribated to the
of the crew and
f fun they had
ig these films.
r'hen asked where we find our characters and our is trying to do or even what he wants to have happen in
s, we point out that one of the biggest sources is the story.
people right around us, wherever we may be, So, Obviously, this all wilt be easier and more interest¬
, we say to train yourself to be constantly observ- ing if the animator likes the character in the first place.
l.o watch for the unusual and the entertaining, We advised a group of young animators: “'Look for
lainly that is what John Hurt did in his preparation things in your characters that make them so interesting
he role of Max.) II' you see someone with a unique that you end up loving them. They should be appealing
of gesturing and talking, watch him and make to you: you are creating them. Endow them with all the
ental note—maybe draw him when you have a great qualities you like that are consistent with their
ice. A boy anti his dog and the way they took at personalities, so that you will want to be around them.
other, or two lovers holding hands, someone wait- Like an actor getting a good solid role, you w ill took
mpatienily for another person, a salesman, a sports forward to each day, and at night you will think about
re—they at! hold (he promise of inspiration for a your sequence and the characters in it and whaf you're
ntiaL character, But you must be thinking, that way. going to do with it—and you just can’t get it oul of
baseball pitcher is constantly adjusting his cap your mind. It’s with you 24 hours a.day.”'
wiping his brow on his sleeve, taking his glove off Some of the funniest shorts the studio ever made
ibbing I he ball. All pitchers do these things, hut came from the sheer enjoyment felt by animators work¬
one does it differently. Wall was continually tak- ing with a character they had come to know and under¬
tis glasses off and on when talking over a script. stand extremely well. These were the ”Howr To”
Kali! did not need his glasses for close work, so Goofy pictures: How to Ploy Baseball, How to Swim,
n looking at someone's drawing he would take the How to Fisk, etc. Most of these w ere directed by Jack
res off just one ear and let them dangle precariously Kinney, with inspired work by animation supervisor Mill Kohl rarely used his
ighout the whole conversation, Woolic Re it hernia is and zany touches from animator glosses for close work and
often lei them hong in a
nee the general type of character has been found, John Sibley. John, like Woolie, was especially good
disconcerting way from one
t begins on finding the refinements, the details, at funny, imaginative action and timing. They loved to ear while examining a
pecifics that make him into an individual—unique talk about how funny the section they were working drawing.
entertaining. This is more difficult to judge, but on was going to he.
inimator will flounder with indecision unless he The more they would talk, (he funnier it would
get inside the character and know precisely what become to them, and soon they were just killing them¬
>ns are right for that personality. As long as there selves laughing at all the gags. So they would decide
iy confusion or lack of understanding, the draw- to go and tell ”OT Kinney” about their new ideas,
will he vague and indecisive. A good check on because he might think of something even funnier.
her the character is really understood is this ques- Everyone could hear them going all the way up the
"'Do you know how he feels about himself?” stairs and down the hall, talking and laughing about
lout knowing his self-image, it w ill be difficult to this w ith an occasional pause while one of them showed
v how he really feels about anyone else or what he the other how it was going to be: then the laughter
mom
hfj-

•.uul
•nto
the
ba¬
the

would gel even louder. By the time they were at Jack idea around” and continually observing and thinking
Kinney's room they were both in Lears, but Jack knew and watching each other act out the business. This is
the material so well lie could pick right up with them how great characters are developed.
and very soon was in convulsions* too. In the early story conception of The Rescuers, Capt.
This love for the character is reflected in the fin¬ Orville was just a bird—perhaps a pigeon—who would
ished pictures, for there is an inspired quality that tly the mice agents to their destination. His most
never would exist if it had been put together mechan¬ distinguishing business was that he would be catapulted
ically from the storyboards. This dearly showrs the off the ground instead of taking off under his own
importance of talking and talking and ' kicking an power. This was a novel idea, but it seemed to inhibit
the development of the character. Things were hap¬ to say, “This can just as well wait till tomorrow."
pening to him rather than having him make anything Pilots say that the tough part of flying is landing and
happen. taking off. The albatross does not seem to recognize
On I he strength of some of the studio's nature films, that he has a problem in either procedure, and this
it was decided to base Capt. Orville's character on an gave us our due to his personality—the fact that when
albatross. Immediately this opened up all kinds of he landed on his face and then crashed into several of
possibilities. An albatross in the air is a thing of beauty the other birds on the beach, nobody made a big deal
to behold, the ultimate in perfect coordination, but on out of it. They just shook the sand off and plopped Captain Orville, the
truss in The Rescuer:
the ground, either Sanding or taking off, it exhibits the down again as if nothing hud happened, In our picture,
sidered himself to >
height of incompetence. The albatross lands like a die first time Cup!. Orville landed, he plowed into the perfect flyer. We con
bowling ball, scattering companions around like ten¬ runway and slid to a slop on Ids face, Bernard came him as a crusty old
running out to see how badly the albatross had been War l Jiving ace wh
pins. His take-off, if possible, is even worse. Mother
tees, scarf, and gi
Nature had an off day when she devised this piece of hurl: his reply was. "One of my belter landings. Bub!"
and his own loading
clumsy uncoordinated action. He cannot even run well, And he meant it! This would be his personality through¬ His role in the pictur
taking a longer step with one leg than the other, which out. lie thought everything he did was the greatest, from a cameo part \
and the only way to do iL of a star. This was it
gives him a gimpy look and makes it doubly hard to
measure due to ih
acquire enough speed to get airborne (much of the His takeoff with the mice aboard became the funni¬ dialogue performatic
time he does not succeed). After running what seems est piece of business in the whole picture since it played by Jim Jordan (J
like miles, he will suddenly abort his flight as though into all three personalities. Bernard was afraid of flying. McGee).
 and Bianca was looking forward to it w ith enthusiasm. came the muskrat Eilie Mae, w ife of the shiftless Luke
This gave each of them definite attitudes that opened and self-appointed major do mo of (he area.
up new facets of their personalities, She had been thought of as a Germanic type of
Orville was sort of a crusty guy, hut likeable. We housewife, capable, energetic, strong, eager, and hap¬
thought of him as being a World War 1 acc with hel¬ py. with boundless energy, but now she had to become
met, goggles, scarf, and puttees—the works. He toler¬ a specific individual within that category. A TV conn-
ated Bernard, hut warmed up to Bianca. The story mere ial showing about that time featured an actress
could have been told without him. There was a lime who was extremely large, but very delicate and femi¬
when we considered having the mice dart into a regu¬ nine in her gestures. To that “little girl" self-image
lar airliner, hut how much better the sequence became we added the strength of a horse, and had the start of
r story must contain sit- through the development of Capt. Orville an interesting character. We did not know yet if she
ions that allow each Difficult as it is to conjure up a successful character would be explosive, forgiving, self-centered, aggres¬
trader to reveal the en-
and to know him thoroughly, it is often surprisingly sive, or petulant, but we were finding out, Jeanette
'(tinmens in his person -
y\ The muskrat family awkward to find the ways to tell the audience all about Nolan was chosen to do the voice, and she made a
The Rescuers consisted him. The opportunities to show all these delightful startling contribution that developed the idea further.
Eilie Mae, she bossy, She played the quiet lines with great sympathy and
trails in a rich personality can slip away one by one as
filing wife, and Luke,
■ shiftless hit shaft d with the sequences develop, leaving an interesting residue tenderness, supported by a slight lispt then unexpect¬
jug of'"swamp juice ” but none of the exciting moments that had been visual¬ edly shrieked the excited lines in a voice that would
weiteNolan, in comrib- ized- We had tin is distressing situation in The Rescuers shatter glass.
ng the voice of El tie
in the very next sequence. She helped Bianca from the mud with a warm, soft
if, added more dimen-
n by giving u delicate When the mice, flying with Capt, Orville, arrived at line, “Here, honey, let me hc'p you/' Then without
•rmth to the bustling the bayou, they were forced to abandon ship and para¬ even stopping to inhale, she bellowed, “You boys git
:its. and o shattering chute to safety. Awaiting their arrival was a group of over here right now!/* Then once again, all gemk-
iek to the aggressive
eager local animals organized into a home guard unit ness. “Oh dear, ain’t (hat a shame/' It was a fresh
fe when the character
s excited. Unfortunately, known as (he Swamp Volunteers. When the parachute character and one that we all liked. The drawings of
the story evolved, there of the mice got tangled in a tree, the reception commit¬ her showed strong arms, a stocky build, a defiant set
s no place to show these to her head and a sweet little smile. She was the boss
tee broke ranks and ran about like the Keystone Cops
a ldies and El tie Mae
ied up as a more con- as (hey tried to rescue the suspended visitors. Through¬ and could do anything, but she thought of herself only
atonal motherly type. out all these proceedings, the dominant character be¬ as sweet and delicate and very feminine. She did not
 need to he excitable because she was so competent, tension between them, immediately there will be atti¬
and she yelled only when she wanted someone else to tudes and drives and actions that reveal individual traits
do something—which was often. This supported the more clearly than would be brought out by passive
I unpredictable changes in her delivery since it was not agreement. I his is something to consider when sev¬
related to an emotional build-up, and il really was eral of the characters work as a team with one unified
something she was not aware of doing. purpose. The Swamp Volunteers all wanted the same
Unfortunately, as the continuity developed and the thing and differed more in physical appearance than in
sequence was refined, almost all of the business that either aims or personality. Without the conflict supplied
made use of her outbursts was cut out. and we were by El lie Mae’s bossiness, their scenes had little vitali¬
left with a rich character who had only motherly lines. ty. The semicomic villains of 101 Dalmatians, the
We searched through the rest of the picture but found Baduns, shared a common goal and a common per¬
noplace to make use of the entertainment potential we sonality as well. By having one more stupid than the
had seen. other, and a little less aggressive, we were able to
Il brought home the point of how important it is to introduce some argument throughout the scenes.
have business that gives your character a chance to Probably our most exasperating and elusive charac¬
show what he is. Il is so easy to say that your character ters were the three Good Fairies in Sleeping Beauty,
is great and that you know every angle of his personal¬ who were committed to doing only good; they had no
ity and that he will be memorable and outstanding, but apparent weaknesses or foibles at all to exploit. In the
unless specific scenes arc there in the film—integrated early stages, Walt actually toyed with the idea of their
into the story—no one will ever know what was in being all alike, but if they were there would have been
your mind, Il is not enough to say it is there; il must be nothing to animate—there was no play among them.
shewn. In our case, the work we had done made Elite They were like Donald Duck’s nephews. This possibly
Mae a definite character, sincere and convincing, but would have been acceptable if they were to be just
without the fun we had anticipated spectators commenting on what they saw.
All the while one character is being considered, But this was a story of how these three fairies tried
close attention also must l>e given to the other players to save a girl from the curse of the evil fairy Malefi¬
who work around him, for it is only their interaction cent, and lost. For this role, they would need strength
that brings the scenes to life, Il seems like a devastat¬ and purpose and a certain aggressiveness seldom seen
ing assignment. When Ron Clements was new at the in passive spectators. More than that, they were the
studio, he commented, "The greatest challenge in ani¬ rulers of their various domains, and while undoubtedly
mation is to create a relationship of characters through very gentle monarchs they should he more than just
a picture that an audience believes in. To them, these A few of the diverse id
sweet and loving. I here had to be more substance to
on the appearance of
characters exist—they’re real. It’s tough enough to them and to their relationship. The animators would three GtxxlFairies in Sle
create one character that lives, hut to get two or more need something positive they could caricature in order mg Beauty in both th
inlerrel at i n g—th at i s t he i mpos si bl e d rea m. ” to make any kind of statement, but what should it be';’ normal costumes und
Actually there can be some advantage in working peasant clothes they m
What could be done with three seemingly vacuous
during (heir sixteen ye
two characters together. If there can lie some kind of ladies who agreed on nearly everything? in the woods.
 As the supervising animators on these characters, thing was that everyone shin acting on it immediately.
we would be responsible for their personalities, and She felt the burden of any problems and thought of
we spent many sessions with the story crew working herself as having a sense of responsibility, Perhaps!
out specific business for the first sequence. Even before most important, she had a grasp of the big concept of I
the voices were recorded, we had tried ideas, discarded what was going on.
them, switched traits from one fairy to another, jug¬ Now we had to find the best way to play Merry-
gled and borrowed, built and appraised. weather against that character. What if she had better
We had started out with Flora being bossy. To her it ideas than Flora, especially in times of crisis? fhen
was more important that she be the boss than be right. the frustration of having to do it Flora's way would
So she would dominate and the other two would fol¬ pay off. She could have a reason to argue with Flora
low, but that did not make a good relationship. Then ami this type of conflict would liven up their relation¬
we thought, “What if she’s the leader but not always ship. Also, maybe she is more impulsive and quick to
right?1 Merry weather would point out the error even act—more of a doer than the others hut without an
though she was usually all wrapped up in herself and understanding of the big events a round her. She would
having fun. Hut this might make her too argumenta¬ he interested in little things and how things looked
tive and that would not be desirable. And what do we and would volunteer to do the housework. We thought i
do with Fauna? She is so wishy-washy—she always she would love to dance and to be happy and to ex pres
goes along with the last person talked to—and this herself physically. Her feelings would be on the sur¬
leaves her too w^eak to be interesting. face , and she would Hare up in anger more readily
Gradually we began to feel that Flora should not be than the others.
bossy, but should dominate without realising she is Now where in here could we fit another type? Fau¬
doing it. She would be just a more aggressive person¬ na’s character was the most difficult to find because
ality and full of ideas. It was not important that her we could not have another dominant personality: yet
idea be chosen, it was just that it was the best idea—the we did not want her simply to be battered between the
fact that it was her idea was immaterial. The important other two, [f we went too far that way, the whofc

)2
relationship became unpleasant. We had to remember who could move through any problem unscathed as
that these ladies were "good” fairies* but that always well as unaware she was inspiring.
led us into the saccharine. This opened up a whole new relationship and made
Then, while on vacation in Colorado* one of us met us think a little of the great comedienne Billie Burke,
a lady who was to have a profound influence on the At last we fell we had an understanding of the elusive
character of Fauna. She could be described as wispy, Fauna. She still could be vague, in that she could lose
constantly smiling, Iwinkling-eyed, and almost unaware track of w hat she w as doing* but she did have ideas of
of what might be going on about her. She loved every¬ her own—most of them little, feminine ideas. She was
body, thought beautiful thoughts, could scarcely con¬ interested in small details. She liked the idea of baking
ceive of wrongdoing* and delighted in spreading what a cake* but had trouble keeping her concentration
sIk considered to lie sunshine. Here was a positive throughout the process. Of the three fairies, she would
character who saw only good in everything and still worry the most and would be the one who would try to
lacked nothing in personality. She was supposed to smooth over any conflict between I he other two This
read an inspirational poem at each meeting of her wom¬ new slant had given Fauna an aimost aggressive viewr
en's club, but when she arrived and could not find her of life.
prepared selection—instead of being flustered* upset, About this same time* the multitalented Don DaGradi
embarrassed* or confused—she blithely pulled out noticed that little old ladies tend to wear their hats flat
something else, like a letter from her cousin in Indian¬ on top ot their heads. He made some drawings show¬
apolis* and read it to the assembled ladies. She was ing them as cuter, more w in so me* more appealing.
always sweet and sparkling, and also a little infuriat¬ Our drawings had been too strong and heavy. Now'
ing* but as a model for a unii|ue "good" character Don suggested they could be filmier, more tike maiden
 ■

aunts, smelling of lavender. Suddenly it all fell to¬

gether. These fairies were certainly no match for
Maleficent, but still they fell (hey had to (ry. They were
"good" all the way through, hut entertainingly so.
They helped to tell the story in a fresh and surpris¬
S taT ing way. adding imagination and warmth. Until such
characters have been "found," it is Impossible to think
of the story as anything but a collection of incidents.
Wiih them included, it becomes a personal account of
something that happens to individuals people in (k
audience know . They are immediately concerned and
interested and, suddenly, involved. As (he concept of

'rank Thomas,
idMerryweath-
utinh and stretch
she is airborne.
Merry weather and Flora
battle each other with
magic

establishes all that is needed, but more often there will

have to be many scenes, each contributing a liny bit to
the overall attitudes. An elusive sensation of warmth,
of unspoken affection, of genuine concern between artistBill Pees—
two characters may take more than one sequence before The Jungle Book,
a character grows, inevitably it will influence the devel¬ the audience shares the feelings. You cannot count on The story sketches .w
opment of (he story, and that in turn influences the its coming off or being there, but you try and try and a serious minded Bug)
character's relationship to others. The story is now it is in all of your thinking; somehow, when you arc determined to see Mi
becoming a tale about specific characters; what they returned safety to she
done, the feeling is there.
village, in contrast
think and decide to do determines what will happen This was particularly evident in the characters of drawings of Baho aj.
and the way it will happen. Baloo and Mowgti in The Jungle Book, and many of to be of a big, ease
Character relationships must be bin It slowly and the intangibles of accomplishing this kind of relation¬ character—someone
carefully through actions, expressions, and emotions. could relate to She bo
ship become apparent as wc look back on the dilem¬
better than rhe pat
Occasionally there will be one key scene that clearly ma. In the early stages, the story was all about the could
 A strong-willed ami deter¬ tion with his feelings of rejection. It seemed belter if
mined Mowgli registers he did no strong acting or emoting. We felt we could
displeasure at Bag he era's
portray his feelings better by using mostly long shots
criticism.
and featuring only kidlike actions such as kicking a
rock, throwing a slick, climbing a boulder, sliding
down a tree—all things he ordinarily would be doing
playfully, but now is doing aimlessly. We felt that this
approach ponrayed a lonesome little hoy on the screen
better than any complex, close-up acting scenes would
have done.
It was at this point that the big-hearted, slow-thinking
Baloo entered the picture, singing Doobey-do-doo.
it s all so easy. , . ."He was a standard diamondl-in-
the-rough character, big and strong, and someone who
panther Bagheera and the troubles he had getting (he could play right into the boy's predicament, being
E young boy Mowgli out of the jungle ami back to the either comforting, threatening, silly* or friendly, de¬
man village, Each of the animals they met along the pending on what worked best for us. It was lime to start
way reflected a different philosophy, anti Baloo, the lest mg voices.
j easygoing bear, was there to show the slovenly life- The panel that listened and judged consisted of !he
I style that is possible when one is strong and can eat director, two storymen, and two supervising anima¬
I anything. tors. With the very first actor we realized that our bear
Bagheera had to he very wise, orderly, anti fastidi- was too old-fashioned, too much bke other bears we
I ous, which made him rather stuffy. Those traits are had done, too ordinary. We tried changing him to a
neither endearing nor interesting, and at this stage he sort of Ed Wynn—authority with a comic twist. We
I was admittedly dull. His primary relationship was with tested some exchange students from India to see if we
Mowgli, whom we thought of as a tenacious kid of could get a voice with a special quality indigenous to
seven to twelve, confident hut not smart-alecky—a that area. None of these gave us any kind of character
young Tarzan who could turn out to be great, if he we could see when we closed our eyes and listened.
lived! Finally we found a funny voice that made a sort of
Mowgli had no intention of leaving the jungle and bungling, confused hear out of Baloo, and we were
became obstinate. Bagheera's patience was at an end, trying to develop that thought when Walt suggested
so after one final disagreement he gave up and left. Phil Harris for the part.
The boy. like any kid who has won an argument he did Phil had been associated more with night clubs than
net want in the first place* was disconsolate, still a the jungle, so we wrere surprised and he was stunned.
little annoyed, and very lonely. He had his independ¬ animator Oltie Johnstc
He explained, H don't do voices: I wasn't so good at
ence, but no friends. reading to my twro daughters when they were little." An argument w-'j'rJ? B
It was important at this point to build sympathy for heera leaves Mowgli up
But we got hint to come in and go through a few tines
He shows his feelings \
Mowgli. He had been unreasonable, but he was young in spite of his obvious discomfort. Finally he backed kid-tike gestures rai
and inexperienced, and we needed audience identifica¬ up and said, "I canT act like a bear—and, besides, I than dramatic acting.
 don't do [hiit doobey-doo stuff,1' We asked how he / inocchio, we used ( lift Hdw-'ards, (op recording sijr
w°ufd deliver (he lines if he could do i[ his own way. of the thirties, Walter Catlett, popular comedian of
He grinned at the script a moment, then threw- back his both stage and screen, as well as Christian Rub. Evelyn
head and shook [he stage with an infectious, rhythmic Venable, and Charles Jude Is—all well-known to movie
chant. "Well it's a doobey-do-doo; yes, if* a doobey- patrons ot that time. 1 he type of talent [hat can give
do-doo; I mean a. ,, . ” Immediately we had a character. you (he characterization you need almost always will
As we warmed up to this new Baloo, Phil began to be well-known in his own field, unless he is very
see more possibilities himself and became relaxed and young or, that extremely rare item, a natural.
excited by the end of [he day. But before he left the When Walt heard Phil s test (rack he loved it, even
recording session, he began to think that this new to the point of starting to act out how (he bear would
association with the Disney studio might be hard for firs! come dancing into Mowglis scene These nev,
his friends and family to understand, lie asked, "('an dimensions Walt was seeing because of Phil's voice
l have a copy of what I’ve recorded today? Otherwise naturally affected the appearance of Baloo. We began
Alice |his wife is Alice FayeJ will never believe me." to draw an individual.
Once Baloo had become a definite individual, he As we talked about this eicw-- character in our pic-
was so entertaining it was impossible to keep him out (ure, we tried [o get inside him, to know him better, to
oi [he rest of the picture Instead of the little cameo understand what he might do. If he were an animator,
part [hat had been planned, he was built into the story what kind ot a guy would Baloo be? 11 you came into
more and more until he was the main force that made his room, what would it be like? He probably would
it work Phil Harris's performance added sincerity in a lie silting there with his feet up on his desk and food
colorful character that gave new interest to everything all over the place, crumbs and coffee stains all over his
he did, but, most important, this hear suddenly had drawings. Probably he would have his mouth lull of
great warmth, something (he picture had needed. None lood when he greets you: "Come on in and sit down—
of the other voices we tested or the personalities we take five. The trouble is, there is no place to sit. But
considered would have done [his, Baloo might have re¬ somehow (his disorder is not as bud as ii first seemed,
mained a cameo because he would not have been strong because you immediately like this individual and you
enough or important enough to use in more than one feet good w hile you are around him. I le is a free spirit,
place, and the story would have been quite different. w'arm and friendly, and keeping everything in order is
White it may (ake a lew1 minutes for an audience to just not important to him. Life is simple and things arc
disassociate the visual image of a well-known performer solved in a simple way. He would be rather easy in
I mm his role in (he film, the gain in character devel¬ trick or deceive because w'e think of him as being
opment is immeasurable. In (he second and third gullible—gullible mainly because he tikes people so
releases, years later, to audiences who really had not much that It would not occur to him not to trust them.
known Phil Harris through radio or movie roles. The He would be impulsive. If something pipped into his
e Johnston, Jungle Rook has proved to he increasingly popular. It head that he would tike to do, he would do it, neveT
ot ready to is obvious that having established the character and considering that it might no! work out.
vith the affa- used it in the bes( way is far more important than how Most ot all, he would tove sensual pleasures—
well-known (he voice talent [night be at the time. In eating, or overeating, and singing. When you think of
Phil Harris you think of rhythm and finger-snapping We had animated about 35 or 40 feet of Mowgli and
and moving to the beat, and that is the kind of thing Baloo for a test when Walt saw it and said, "This bear
Walt was looking for when he showed us how the bear is marvelous—we've got to keep him in the picture."
would dance. Then scratching—that has got to be a Phil Harris came back for a second recording session,
big part of his life. and we showed him this animation. He stared at it,
Soon we started seeing how this new Raloo would unbelieving; finally he turned to us. and said, "Gee,
help us with Bagheera, loo. What could work better this will make me immortal. The way you guys ani¬
with a free spirit than a stuffy, disapproving straight mate me J can do no wrong." This picture was to bring
man? The looser the bear got the more entertaining the him a whole different group of fans. When he walked
panther became. So we started building on Bagheera dowrn the street, kids would come up and grab his
again and wondered what he would be like if he were hands and run along beside him calling him, "Baloo.”
iiti animator or perhaps a story man. His room would Everywhere they were reacting to his character just as
be neat as a pin with every pencil sharpened and all Mowgli did They loved him because he came across
laid out in nice rows according to color and length. as a living character on the screen.
Paper and pads would be neatly stacked, and there The relationship between these two began to have
would be no food anywrhere—just a bottle of antacid enormous possibilities for warmth, comedy, pathos,
pills on the shelf. He would be friendly, but reserved. and suspense They really needed each other. The bear
When we were sure enough of our cast of charac¬ never had a cub of his own and saw in Mowgli some¬
ters. we came back to the scene where Raloo and one he could teach the things he thought were impor¬
Mowgli first meet and started creating the crucial rela¬ tant, The story had been grim with everyone againsl
tionship between them. How will they react to each the boy, and now he had a friend. But what a friend—
other? Will the boy be afraid of this big guy? He is a irresponsible, impulsive, thoughtless. The audience
courageous youngster, but he is still upset from his knew' the panther was right in his concern for Mowgli’s
argument and still 3s trying to sort things out in his survival, but they also could see the appeal of the bear
mind. When the bear talks to him, we decide Mowgli to the boy. All the characters had clear drives; (hey
will take a swing at him. He is too naive to know any were in conflict and they were enjoyable and provoca¬
belter, and at this point he wants to he left alone, tive.
How does Raloo react to this little squirt hitting In the first sequence, where the two have met. the
him? Is he sure about it? No. Instinctively he takes a hear continues his lessons and tries to teach Mowgli to
completely opposite point of view . “This kid needs growl. Bagheera hears Baloo’s roar, fears the worst is
help. He'll gel himself killed swinging at big guys like happening to Mowgli, and races hack to lie Ip him. He
me if I don’! help him." This isn't a mental problem; is appalled to find that the boy has picked up with this
it is purely physical and right up the bear's alley. "jungle bum." Baloo tells Bagheera that (he kid is
going, to stay with him. and he will leach him all he
AjfTi&r: Frank Thomas. knows. Bagheera'$ sarcastic response is, "That won't
Mowgli ami Baton fitted an take long." The relationships among Ehe three main
empty place in each other's characters are beginning to dictate the way [he situa¬
life. This helped produce tions w ill play out and what the dialogue should be.
one of rite warmest rela¬
tionships we have ever
The second sequence has an entirely different flavor
achieved. because it is all done to pre scored music with the
characters moving in syne to every beat, actually danc¬
ing their way through the song. Even the secondary
actions are put on the beat as much as possible, since
this always conveys a happy, exuberant feeling (hat
can be achieved in no other way.
Through this sequence, Mowgli usual!;, is trying to
 back that sets him off. but whatever it is Baloo feels
the urge to be scratched. ‘ Hey. Mowgli, how about
scratchin1 that old left shoulder?'' Mowgli does his
best, scratching higher and lower and all over the place,
but this is just a teaser for Baloo. “This calls for some
recti scratchin'. “ He finds a very rough-looking palm
tree and has at it. The more he scratches the more
frantic he gets—his eyes become glazed—he no longer
is in control of what he does. Finally he slides exhausted
into the water, and he and Mowgli reprise the song
together in a slow tempo as they drift downstream.
At one point during Baloo1 s scratching, he uproots
the tree and scratches his back with it. The director
decided we needed some music to make (he (rack sup¬
port this and add to the excitement of the picture. Hu
called in four musicians—piano, drums, bass, and
trumpet. While they were ad libbing to a section of
'"The Bare Necessities,” the trumpet player. Cappy
Lewis, was asked to get more of what the bear was
feeling—more frenzy—to get the feeling that the bear
could not stop if he wanted to! Cappy finally got some¬
thing we all liked, a really classic piece of imaginative
trumpet playing. As a matter of fact it worked om so
well that we decided to reprise it exactly at the end of
the picture, This would send the audience out with a
big lift. Danny Alguire, the assistant director, arranged
to have a musician transcribe i( note for note. Then
musical director George Bruns inserted it into the final
mimic Baloo. This (laiters the hear and gives the feel¬ score.
ing [hat they are responding to the same vibrations, The time came to do the final recording on (his
which adds to the closeness between them. They could section, with the same trumpet player and (he same ad
not feel better about each other or themselves at this lib solo all nicely written out for him. He looked at
moment. it—looked closer—blew a couple of notes—put down
Baloo drops down on ail fours as he finishes che his horn and shook his head. The phrasing was beyond
lyrics and Mowgli hops up on his back. Perhaps Mow¬ him. He looked up at Bruns and said!, “Nobody can
gli accidentally touches a sensitive spot on Baloo's play (his!1 Of course, he did play it, and excellently.

? Johns (an.
rnzy\ Baloo
>ts a tree, as
the thumb-
giving a spirit of exuberance and vitality to the ending
gestures as he searches for an idea. If he is too
of the picture.
nervous, or has too many expressions, he becomes
By this lime I lie bear and the boy had developed a
excited, or evasive, or even overly desperate. Our
bond, something that grew out of all the tilings they
bear is desperate, but he is not excitable or evasive.
had been doing together. Bit by bit they had opened
He is a simple, direct character who meets every¬
their hearts to eaeh other anti there was a reaJ fee]inn
thing head-on. He is used to settling his problems
of trust between them This was what we had hoped
with physical force and this predicament is really
wc were gelling, because it was so vital to the next
beyond him. He is too honest to be evasive and loo
sequence where their friendship would be tested, in a
simple to have a complicated thought process. He
different way, by each of them,
should lie desolate and lost, yet his love for the boy
Mowgli is kidnapped by the monkeys, a big fight
is so genuine that he cannot walk away from the
ensues, and Baloo and Bagheera get him back. Then problem.
conics a difficult all-dialogue section between the pan¬
ther and the bear where Baloo is finally convinced that
So w hat docs the bear do? What kind of acting will
for the boy s own good he must go back to the man-
show these inner feelings in drawings? The best way *
village But even though Baloo is convinced, he feds
to sort this out would be to make thumbnail drawings thatfor°his
very unsure of himself, 'Well, can't it wait till morn¬
of <1 iiterent things he might do. They must be acting must go id t>
ing ? he pieads, hut Bagheera answers, lblt's morning
symbols that are in character and are easily identified The skeKh L
now. , , , Baloo starts toward the sleeping Mowgli.
by the audience. Baloo is in way over his head, but he *
hesitates, and Bagheera has to urge hi in once more,
is trying very hard to think of something he can say or early morni
. . go on, Baloo. ” (Continued on page 414)
Before (he animator started on this section he wrote
down all his feelings about the situation and the char¬
acters L to clear it up in his own mind. It is easy to s^et
lost in trying to do too many things when you are
animating it you are not sure of what your main state¬
ment is going to be. By writing everything down first,
yourmind becomes organized, channeled into just what
you want to do. You can always change your mind if
Oib is not working, but it does give you a start and a
direction.
Here is what the animator wrote:1

There should be an aimless feeling to Baloo's walk,

and a huddled feeling, in contrast to his normal
expansive, confident manner. He has nervous vague
ARTtsr: Frank Thomas.

The animator searches far

specific actions that will
show Babo's inner tormenr
as he tries to tell Mowgli
he must leave the jungle.
animator: Frank Thomas.
The thumbnails become a
scene shat odds a ww di¬
mension 10 Batoo's charac¬
ter.
 on paper. None of it is possible, however, if the crew
has failed to develop the characters to the point vdiere
their thoughts and their actions seem natural and believ¬
able. It cannot he achieved mechanically, or by copy¬
ing, or by wishful thinking, but only by careful build¬
up, understanding, and a love for the characters.
This powerful bond between Baloo and Mowgli was
the ingredient that held the picture together and made
the audience care. It also enabled us to build two
special sequences at the end that never could have
been sustained otherwise. Mowgli's emotions when
he believes the bear is dead would otherwise have
been maudlin, and the bittersweet farewell, when the
lure of his own kind is greater than his love ior his
do. He can pull his car, mb his arm, look around him friend, would never have been convincing or satisfying
for help, mb his nose or his jaw, sniff. scratch his as an ending, ft was Walt who asked that the boy go
neck, or roll his eyes. Any one of these is in character into the village through his own choice ralher than
for him, but he cannot do them all. Does he move into because the animals knew it was the right place for
this action or is he already in it at the start of the him. It gave the necessary light touch to end the pic¬
scene? How much movement will there be within this ture on a happy note.
pose or attitude? How long will he rub his neck or how The Jungle Book was the first picture after Snow
much time will it take to roll his eyes or do whatever White to have the personalities and feelings of the
action has been chosen? characters so dominant. The audience understood the
As the bear agonizes over this problem, the acting characters and identified with what each was trying to
of the boy becomes very crucial. With no idea that the do. Every sequence gave new opportunities to see other
bear even has a problem, he is running all over the facets of the personalities. And even though there was
place, happy and unable to settle down. It the boy very little story as such, these character relationships
would just stand still and listen to Baloo il would be and interesting personalities made this the most suc¬
difficult enough, but the fact that Mowgli is so excited cessful cartoon up to that time in our history.
about the day they are going to spend together just
makes Ratoo's problem impossible.
Baloo instinctively realizes that their relationship is
different from anything he has had before. They have
trusted each other, and he is afraid that this will end it
all. Rut the right words just will not come to him
Finally he has to use force to make Mowgli listen. He
grabs him and blurts out what he has to say: “I've got
to lake you back to the man village!"
Mowrgli at first is unbelieving. Then, heartbroken,
he pulls awray and runs off into the woods. He has
been betrayed by the one friend he loved the most.
These are the moments that live with an audience,
making the film more than just a cartoon and the char¬
acters more than just drawings. They are also the
moments I hat offer the greatest opportunities for mem¬
orable performances to actors, whether live or created
Costumes However, on the way to the wardrobe I thought I
would dress m baggy pants, big shoes, a cane and a
The value of the costume in creating a personality
derby hat, he said. L,I wanted everything a contra-
Cannot be overestimated. In addition to the obvious
diction. Remembering Sennett had expected me to be
e>e appeal ol the color and design, the specific articles
a much older man, I added a small moustache which,
this! the character wears make him a specific individ-
I reasoned, would add age without hiding my expres¬
ual. The animator can become excited by the possi¬ sion.
bilities tor caricature and movement in the materials of
"I had no idea of the character, but the moment 1
a different kind of apparel, but, most of all, everyone
was dressed, the clothes and the makeup made me feel
is stimulated by (he personality traits and cartoon busi¬
the person he was. I began to know him, and by the
ness now that the character is becoming so definite.
time I walked on the stage he was fully born. When I
When Charlie Chaplin first went to the Mack Sennett
confronted Sennett I assumed the character and strutted
Studios, he was told to put on a comedy makeup. At
about, swinging my cane and parading before him.
the moment, he had no idea what he wrould put on.
Gags and comedy ideas went racing through my mind.2

Sketches for C
costumes for h
as a serving me
fry Mary Blair
Davis. Many i
sizes, colon a
were considers
final selection •

Sketches fry Ma
typical medieva
for Sleeping fle
Kt'ti Anderson visualized a
re gal. Basil Rathhonetvpe
Shvi f' Khan who had onhf
amirmpt for his drums, |
 The Appealing Villain
Villains are usually the most fun of all characters to knew ho was not going to he slavering and growling.
develop, because I hey mate everything else happen. The story called for Shere Khan to be the ' heavy" of
They arc the instigators, and, as Chaplin has pointed the jungle. He had to be powerful* extremely compe¬
wtf always more colorful than the hero. They may be tent. and feared by everyone, But beyond that he could
dramatic, awesome* insidious, or semicomic, but inev¬ be sneaky or aggressive, scheming or direct* belliger¬
itably they will he rich in unusual personality trails. ent* unpredictable, bragging, or reserved It depended
Even before we know for sure how we want them to on what worked best with our other characters, and
look, we know the role they are to play in the story what would give us the best opportunities for attitudes
and are fairly sure of the effect we want them to have and actions in animation. As one of the crew sug¬
on the audience. Which brings up the big question: gested, ’’What if he’s so confident and invincible that
just how scary should our villains be? Do we gain he doesn't have to prove anything to anybody? Like
entertainment by scaring anyone here? Is it a quick, a really tough gangster who never has to shout or
titillating scare that is soon over, or a deep, abiding throw his weight around to show who he is—everyone
felr? Almost any story becomes innocuous if all the knows!" However* we wanted more class and favored
evil is eliminated, but we do not necessarily gain an aristocratic, regal monarch, so we made some draw¬
strength merely by being frightening. We try to find a ings of a tiger reminiscent of Basil Rath bone. We
character that will hold an audience and entertain an were developing a villain who had only disdain for his
audience, even it it is a chilling type of entertainment . victims and who was confident to the point of being
The tiger Shere Khan in The Jungle Book could arrogant. This was getting better! In fact, conceit would
have been a vicious, snarling, ill-tempered beast. The he a good trait, since he had to be defeated somehow
scenes could have been planned so they were terrifying: by our hero, or combination of heroes. Nevertheless,
after all, he was out to kill the hoy, and that was the by the time we were ready to record a voice, we felt
motivation of the whole story. But Walt kept asking* that the intellectual refinement inherent in a voice like Bill Feet's, eat
"HTs not going to be the same old slavering* growl¬ Rath bone's would no longer be quite right. We found of Shere Khan
ing guy like we've always done, is he?" We had not iy, scheming ti
the perfect combination of traits in the voice of George
real menace,
decided just how to handle this villain, but now we Sanders. He was the unquestioned king of the jungle, pursuit of Mo
 9 It is easy to see how a comic villain ceih be funny,
and a dramatic one thrilling, but a more difficult chal¬
lenge arises when the villainous character is somehow
visually disturbing. In addition to the normal problems
of making him or her convincing and theatrically sound,
there is the increased burden of designing the appear¬
ance in a way not only acceptable but appealing. With¬
out appeal, no one will respond enough to become
involved with either the diameter or the story With
some creatures, this seems impossible. What if he is
supposed to be revolting? Fearsome? Loathsome?
What it he is a snake? Is it possible to make him
appealing?
In the following pages we trace the development of
two villains who started out physically handicapped,
yet they grew to be among our most memorable (and
lovable?) characters. This was accomplished hy com¬
bining the dements and principles we have discussed:
story, character development, expressions, acting, and
emotions. There were dark days of doubt, and more
disappointments than need be mentioned, but eventu¬
a competent, intelligent, conceited killer who never ally a way was found to make them appealing, The
had to slaver, or growl! creative mind always will find a way to do the most
In 101 Dalmatians, the same type of decision was impossible assignments, given the opportunity and Ik
made in determining how broad the villain could be stimulation.
without tipsetting the story concept. No one ever
doubted that Cruella deVil actually would skin those
Kaa
puppies, yet this did not keep her from being a wild,
fascinating figure who could get laughs. In contrast, There is definitely something very disturbing and upset¬
the queen in White had to be cold, ruthless, ting about seeing a snake. When I he studio made The
mean, and dramatic. Nothing would be gained by de¬ Living Desert with engrossing scenes of the sidewinder
veloping her personality any further or by letting the rattlesnake at work, an exhibitor in the east refused 10
audience discover her weaknesses. Like a Shakespear¬ release the picture. He claimed that every woman in
ean monarch, she had to be regal and beyond the reach the audience would leave the theater so fast dial he
of common people. The whole illusion would have would be out of business. Snakes may be fascinating
been destroyed if she had slipped on the stairs as she creatures, but it is hard to love (hem or build much
swept down to her dungeon. empathy for them. Bill Peet, one of our better slotymen,
Captain Hook in Peter Pan, on the other hand, was had tried to sell Walt on a story with a snake as a mm
his most entertaining when he lost all dignity and con¬ character for a propaganda film during the war, but
trol, as he tried to get away from the crocodile. Yet even Walt had shied away from the idea.
this never weakened his relationship to Peter Pan, as Few artists had ever attempted to do a snake in
either menace or adversary. Admittedly, Peter Pan animation, for how can you gel any acting on a ma¬
was intrinsically invincible, and any foe was fore¬ ture that has no shoulders, arms, or hands? Of course,
doomed to failure, so there was little point in restricting there had been token snakes in a film like Noah's M,
ourselves to personalities who were only threatening and there was a small sequence in Birds in Spring.
or villainous. made in 19.?3, where a sly, capricious snake iried to
 snake would establish the variety of dangers that lurk
in the forest and enrich the picture with an exotic
character, while showing that none of the animals had
any respect or concern for the boy and that he had no
friends to help him. Only Bagheera, the black panther,
felt a responsibility to see Mowgli safely out of the
jungle, and early in their journey the two had been
forced to climb a tree to avoid the mad charges of a
nearsighted rhino, Mowgli, laughing at the inept ness
of the beast below, failed to notice anything strange
about the vine upon which he was sitting. Bill Feet’s
script continues:

It is a giant python and while they’ve been talking,

the big snake has quietly arranged a few of his large
coils aftiund the boy until he is wrapped like a mum¬
my, and Kaa is about to put on the big squeeze
when the panther spots him, "Hold it, Kaaf Hold
it!” And the python hesitates,, "A friend of yours?"
he asks politely, s ‘Indeed no," replies Bagheera,
"merely trying to save you from a very long case of
indigestion. This miserable mancub is so spoiled he
wouldn't be a fit meal for even Ishtar the buzzard,”
The python studies the boy with his hypnotic beady
eyes for a moment, then draws back in disgust,
“Ugh! I see what you mean!" and he makes a sour
face. "I'll take toads and lizards any day," and he
glides away, his endless body circling down the tree
trunk to finally disappear in the dense growth far
below.

The first story meeting brought out many new ideas,

Walt felt there should be something more between the
snake and the panther. He sensed that this unusual
capture a small bird chat had been pecking at his rat¬ combination of characters offered more than w^e were
tles. This gave a flutter of excitement to the Him and a getting, and he kept digging for more of a situation.
couple of quick gags (hat proved this particular bird "How about Bagheera hitting Kaa to stop him front
was bright and quick and a potential hero, but the eating the boy—what wrould that do?" Would Kaa
snake got no raves from anybody. resent it and start after the panther? One animal has
When the decision was made to do The Jungle Book, attacked the other in defense of a small boy, and as a
it was obvious that the great snake Kaa should be one result becomes the potential victim himself. Does that
of the characters in the film, even though we had not give us a real situation?
eliminated many sections of the original narrative. The best idea to come out of the meeting was that
When the story work was begun, it was believed that when Kaa was hit by the panther he would release his
the main potential for animation lay in the relationship hold on Mowgli, who would then begin pushing the
of the boy Mowgli to the animals of the jungle. A heavy body of the snake out of the tree while the head.
?et—
look.
'agheera haw several feet away, was busily engaged in hypnotizing with these characters and wonder what they would do
jtr frv ctimb- Bagheera. It was not an act of heroism to save Bag he era nest,
ri ai this point but an innocent act of selfish defiance; however, it The revised storyboards, several meetings later, had
inters an even
worked very well, saving the panther from certain the snake drop into the scene, unnoticed by Bagheera.
rd, the giant
In this first death and crippling the snake temporarily. That way, look the boy over with considerable relish* and pro¬
2 introduction Mowgli would become confident, the panther frustrat¬ ceed to wrap him up for dining. When Bagheera sau
there is ren1 what was happening, he hit Kaa full on the wide-open
ed, and Kaa completely humiliated. All three charac¬
ality on Kaa
ters had definite business, clear motivations* and strong mouth, causing him to release the boy. Kaa’s indig¬
tvelop ment of
attitudes. We hoped the audience would be intrigued nant response was* +L()oh, how dare you, Bagheera— <

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you should never have done that!’1 and he started clos¬ ment on each individual scene; we tried to put over the
ing in on his adversary with hypnotic eyes. As Bagheera business necessary to the scene, but in the least objec¬
tried to keep from looking into those eyes, MowgU tionable way. It would be wrong to give up the slither¬
pushed the snake off the limb, and the fall nearly ing completely, we all agreed. We also kept the darting
snapped Kaa’s head off. He landed in such a tangled tongue, since it did not seem to bother anyone once
mess of coils that he was unable to straighten himself these other characteristics had been changed. There
out and had to crawl away with his whole body just was even a small gag built around it. Kaa, in looking
one huge knot. A story man suggested the line, +*O-0- over the boy, seemed to express glee with his darting
o-o-oh, my crawler's broken!,+ We laughed, but did tongue Mowgli, seeing this, stuck his tongue out at
not accept it. the snake to show his own feelings about this intruder.
Bill Feel’s story sketches of Kaa showed a big, The final feature we emphasized was the big, blunt
powerful python with a simplified drawing of the head, nose, For some reason, people and cartoon characters
which alleviated some of the unpleasantness many peo¬ are never considered to he mean or really sinister if
ple feel about reptiles, but he was still very much a they have big noses. Comedians have big noses.
real snake. Obviously, he had to be, or the story would Real snakes do not have teeth and gums like a bear
fall apart. The audience had to believe that Kaa realty or a cat or a man. Some have teeth, but these are quite
would eat the hoy unless something happened to stop different from those of mammals, since they are not
him. Still, it we did our best to present a real snake at designed for chewing or tearing (he food. The struc¬
this point, we would get little more than shudders ture of the inside of the mouth is unique to reptiles,
from a disturbed audience. The story situation would and the color of the flesh is apt to be a silky while. The
be no stronger, and it certainly would not be any more jawr is hinged differently, too, which would make a
entertaining. We started wondering just how far we difference in the w'ay a snake would talk—if he could
bad to go to prove that Kaa was real, and that line of talk. However, we decided to treat the jaw like a nor¬
thinking led us to the big question, L What is enter¬ mal cartoon jaw, the kind we knew how to handle
taining about a snake?” We could not think of much. wrhen we were trying to draw convincing dialogue, but
While the story work continued to search for stronger we wanted the inside of the mouth to be reptilian. That
character relationships, the rest of us started studying meant more study and more effort, but we felt the
snakes and tried different ways of drawing them. From results would give strength to our character.
viewing our film of pythons, it was apparent that there Somehow we failed to notify the color model peo¬
are several objectionable features of a snake: (I) the ple of our brilliant decisions regarding Kaa’s mouth,
bead that is an extension of the body in one long so we felt completely betrayed when they suggested
thrust; (2) the beady, unblinking eyes; (3) the slithering the pretty, pink mouth they put on all cartoon charac¬
movement, devoid of any apparent feelings; (4) the ters, We screamed that there never had been a python
daning tongue. As soon as we bent the head at right with a pink mouth. They asked why we had not said
angles to the body, we avoided the first problem. As something before if it was so important, and then there
soon as we gave him large eyest even silly Ping-Pong were some accusations back and forth. Someone criti¬
ball eves, we eliminated the beady look, and also gained cized the lack of communication between departments,
un attitude that made him more interesting. Eyelids and this was followed by (he usual comments about
gave hi in a whole gamut of expressions unknown to animators who think they know everything. ^What's
regular snakes, but one animator insisted wre wrere giv¬ the big deal with the mouth? Show them some of our
ing up too much of the real snake at this point. Kaa real problems!'* Eventually Kaa ended up with a
dicultl not have eyelids, and always should maintain slightly tinted, ivory-colored mouth, and a studio party
Ik glassy stare so distinctly reptilian. But the impor¬ at the completion of the picture, once again, smoothed
tance of expressions for bis personality won out, and the ruffled relations between at least two departments.
tk eyelids came buck. Some people wonder why we go to such lengths to
The slithering movement became a matter of judg¬ keep something of the real animal in our presentation.
There is certainly it temptation to forego the study and We had dialogue written that seemed right for our
effort needed to incorporate the animal's anatomy and particular snake, but there was still a wide range of
movements into our drawings. But if we were to throw interpretation possible when we began testing As we
out this special effort, we would soon have all the explained the story situation to the voice talents, 11

animals looking alike, and none of them looking like became evident that Kaa was still rather ordinary and
much of anything. As one animator said, "Why do obvious. He had no personality quirks [hat made him
you try to make any drawing good? You do it because unique or interesting, no mannerisms or ways of think¬
it looks better!" ing that made him distinctive. Each actor would search
While the changes we had made in the neck and to find some special quality, but for the most part all
eyes had rid us of the most objectionable features of a we got were a variety of hisses—sinister hisses, seduc¬
snake, we were tampering with the type of presenta¬ tive hisses, hypnotic hisses, compelling hisses. Sortie
tion that would make Kaa believable Was he begin¬ asked if Kaa were a man or a woman, was he or she
ning to look too silly? Were we losing our menace? mean, conceited, playful, vindictive, autocratic? He
Had we given up so much of the actual snake that we could be any. or all, of these things without changing
no longer had the conviction the story needed? We felt a line of dialogue or the appearance of a drawing, But
[he repulsive quality had been successfully eliminated, none of these traits alone was entertaining enough, nor
but he was far from appealing, and possibly too weak did any of them stimulate the animators to see expres¬
in appearance to pul over the story points. We decided sions and attitudes lor the character.
it was time to search for a voice, since the right contri¬ After eight attempts in different directions, it was
bution trom an actor could give the needed direction to Sterling Holloway who finally came up with the pro¬
further refinements in our drawings. vocative voice and attitude that sparked us all He not
only gave a reading that was (he character, he was able read them. We wrote and rewrote and he made sugges¬
to suggest lines that would lit better with this evolving tions. and together we decided that this snake's weak-
personality. When Keiei hears Bagheera tell the boy to ness was that he could not keep his mouth shut when
go to sleep. Sterling suggested, in a sing-songy voice. he was ahead. Just when he had everything he wanted,
Yes-s-s. mancub, go to s-s-sleep!” which led into he had to overplay his hand and lose it all. When
his hypnotic shire. When BEigheera hit him in the Bagheera told the boy, "Now no more talk till mom-
mouih, instead of **Ooh, how dare you, Bagheera!” it
became, “Qoh, my s-s-sinus-s-es-s-s!” followed by,
"You have jus-s-st made a s-s-serious-s-s mis-s-stake,
my friend, a very s-s-slupid mis-s-stake. ..." Suddenly
Kaa was alive! We could see him clearly, and he was
funny. 1 le was menacing enough, but he was also a liv¬
ing, breathing, entertaining creature We could animate
this guy! Everyone started suggesting lines that would
tit. As Kaa backs Bagheera down the branch he says,
“Look me in the eye when I'm s-s-speaking to you!1 +
Ralph Wright added, “Both eyes, if you plCEtse," since
the panther was squinting and trying to avoid looking
into those deadly eyes.
As quickly as suggestions were made. Sterling was
able to make the new words come alive by the way he
 ing/' Kaa could not keep quid and simply take the more and more fun. It had seemed like such hard work
boy away. He had to brag, LLHe won't be here in the at first, trying to build a situation and a character, and
morning!" which, of course, alerted Bagheera to the we were never sure if we were on the right track in the
situation in lime for him to take action This was the first place, hut, finally, the doors seemed to open and
$ voice
ii touch 1]ne we bad been looking for that would cause the we could now start experimental animation.
>7i men- panther to turn and sec Mowgli about to be eaten, ft Suddenly, we had a new and unexpected problem.
ng.and not only gave us a richer character* but it solved a The girl who brought around the paychecks each
*'ue ami ProbIeni witb the story structure. Now the whole scene Thursday was deathly afraid of snakes, and absolute!)
Ziima- played easily and naturally. What had begun as a bleak refused to come into our rooms to deliver our checks
encounter with a minor character was beginning to be as long as we had any snake drawings in the room.

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She would stand well out in the hall, bend over as Tar but since she absolutely refused to look at it we had a
as she could toward the dloor, and then with a half- problem,
push and half-toss send I he Hu tiering check on its In the meantime, we worked, trying to draw a mus¬
way. This girl could not be coerced into coming even cular body that stubbornly kept looking like a huge
one step farther, and she warned us, repeatedly, that fire hose. A snake obviously is round, and yet really
she would never,, never go to see the film when it was he is not. There are straight tines throughout his coils,
finished! We tried to explain how great the character but they have to come and go as he moves. And then
was, and how she would forget he was a snake. She we had those spots that seemed forever to animate
would not even listen. We had thought she might he a backward on the screen. Should he have larger spots
good lest audience when we had some footage done. or slower moves? The answer seemed to be partly in

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the design of the drawing, and in the way he twisted as enough of a picture to support either the gag or the
be advanced, with the coils moving at different speeds. attitude The animator who finally did the scene decided
A more elaborate pattern of marking also would help, to have an elaborate flopping and dragging action, as
taut that would add too much expense to the picture. ii the body had been broken into many segments (hat
How could we keep the design simple enough to he no longer worked together.3 What had started out as a
economically practical, yet detailed enough to he con¬ funny single drawing had now become a funny action
vincing and handsome? that combined unexpected movement with the spirited
Then, one day, Danny AJguire* the assistant direc¬ acting we needed.
tor on the sequence, told us excitedly. "Hey, I have a The end result of all this effort and fun was a highly
friend in town from Texas who is terrified of snakes. successful sequence, and a villain who had become an
What do you say I invite her in to see part of the entertaining personality in the picture. Walt liked Kaa
picture and not tell her there's a snake in it, and we so much that he suggested the character be brought in
can see how she reacts, OK?" it was a mean scheme, again later in the story. "If you've got some good
but a necessary one, for we had to find out if we had entertainment working for you, use it!” One sioryman
gone loo far, or if the snake should ever have been in felt that the snake should not be developed beyond the
the picture in the first place, small role planned originally, since it would upset the
rfhe showing was arranged, and the lady from Texas balance of the story. The audience could easily grow
sat through (he section of the film we had prepared, tired of him. He thought we should quit while we had
giggling and chuckling ail the way. We were standing something good, and not take a chance of ruining it.
by with cups of water to revive her if she fainted, Even though we had no idea at the time of how we
sedatives if she became distraught, and strong arms to could possibly work in another sequence with the
catch her if she bolted for the outside without stopping snake—without completely destroying what little story
for doors or stairways. But none of that was needed. we had—we voted to use him again.
She cooed, "Oh, be wasn't a sna-ake, he was cu-u- We w'ent to work prying and tugging on the story
tile!!" We returned to our drawing hoards with renewed structure, rebuilding here and tearing out there, until
enthusiasm, we had a place to bring Kaa into the story in a very
Some ideas are funnier in a still drawing than they natural way, Mowgli had run away from Baloo, and
are in animation. That was the case with the tangled W'as roaming about the jungle disconsolately. At the
coils, after Kaa had fallen out of the tree. The draw ing same time, his mortal enemy Shore Khan, the tiger,
of the body as one gigantic knot was always funnier had heart! that the mancub was around and unprotected.
than it wrould have been in animation. There was so What if Kaa got the hoy first, hypnotized him with a
little body left over with which he could move, that he dreamy song, then played with him before consuming
only could look gross, instead of funny, as he tried to the delis-s-scious mors-s-sel?
limp off; hut worse, it did not give our snake the The Sherman brothers. Bob and Dick, wrote a great
proper altitude to support the expression he certainly little song called "Trust in Me," and everyone started
would have had after such an indignity. He would be contributing ideas on ways that Kaa could play with
embarrassed and infuriated, and needed an action that Mowgli. The boy would be rigid when hypnotized and
would combine ruffled dignity, anger, and pain with, could be tossed and turned, even made to flap his arms
perhaps, a certain amount of tlounce. He was not as if he were flying, or he could be a sleepwalker, with
defeated, though he was badly beaten. As we argued a silly grin on his face. This led to graphic ideas of the
over howr to play the scene and how to make the draw¬ snake forming stairs for Mowgli to descend and a
ings, we found that the knot was gradually getting treadmill for him to walk on endlessly.
smaller and smaller in our thinking, as our emphasis Soon we had far more material than we could possi¬
shifted to the manner in which he would move. Final¬ bly use, but we reveled in this luxury, Too often (here
ly, the knot was no more than a simple configuration is not enough business to support the dialogue or the
on the tip of his tail, and at that point we did not have story idea, and we are all scratching our heads trying
 Walt liked the stwt
much (bar he wtmtea
brought hack into rht
lure again, in this ne
quence. Kaa finally
captured Mowgfi by ft;
tiling him. The storys
men suggested a varh
nays that the snake <
play with his victim b
consuming him.
[o think of more material. The song could have been Kaa was doing, we should get on to the next incident;
twice as tong. We had another chorus planned that in this case* the introduction of the tiger.
included some of the most imaginative business, but She re Khan, wandering by, had heard Kaa singing a
the director wisely I eh (hat we were in danger of stalling "lullaby” to someone, and now he interrupted to find
our picture. Once we had made our statement of what out who it might be, Kaa was in a fix. In one half of
 arti$t~ Frank Thomas—
The Jungle Book.
Mowgli tries to avoid Kao's
hypnotic gaze, but the snake
forces his head around so
their eyes will meet. The
markings give form to the
body, suggesting a power¬
ful, mu sc uia r snake with
dimension.

ARtisT: Frank Thotnai

The Jungle BoqL
his body, up in a tree, he was holding the sleeping
Although he has no s
Mowgli, but down on the ground the tiger had a firm tiers, Kaa laughs ear.
hold on Kaas throat: he was not only asking embar¬ inglywith this wiggty,
rassing questions but wanted to see what the other half like action.

of the body was doing, It was a great situation for Kaa

as an actor* and a juicy one for the men who would get
to animate it.
We knew our character well by this time. The
story men knew how to write for him; we knew how to
draw him; and Sterling knew how to play him. He W'as
a formidable villain with strength and slyness, and he
was all snake. He was heavy and convincing and real,
yet he was not straight and he was not revolting. We
hardly remembered those days, only a few months
buck, when we were wondering, 4‘What’s entertaining
about a snake?

artist- Milt Kahi—

The Jungle Book.
Shere Khan, the m
tiger, wants to too*
Kaa has been singing
in the tree. Could
young Mawgli?
 Sir Hiss
Two pictures I titer we bad another snake confronting
ust but this one was of a very different kind. Partly
because of knowledge we had gained by ihai lime, and
partly because Robin Hood was a much lighter story
than The Jungle Rook, we were able to handle Sir Hiss
in a much broader fashion, making a character of him
that simply could not have been imagined earlier. It
had not been necessary to worry about how to make
Kaa act when he had no arms or hands to use fur
gestures. Even with all of his expressions and activity,
Kaa had very little need for shoulders or body lan¬
guage to support his dialogue. He was a big snake,
and though his personality was whimsical he had a
forthright manner of speaking, which fitted a snake's
physical limitations ideally.
In contrast, Sir Hiss's dialogue and attitudes called
for shoulders and shrugs and cringing and petulance,
and even though he wore a small cape where his shouk
ders might have been, there was not the slightest ves¬
tige of anything with which to shrug. Het somehow,
had to do all his acting with only his rather small and
insignificant body, which was really little more than
an extremely long neck. We could never have solved
these problems at the time we were starting on Kaa.
The feature that followed The Jungle Book was
Aristocats with the two giddy geese. Among other
things, they hud been an excellent proving ground for
establishing attitudes with only a long neck beneath
the head Hands could be simulated by wing lips, bat
the shoulders were too far away to be used. There
were not many ways to show an attitude, a pose, or
even an expression, but with extreme care in the stag¬
ing and considerable imagination in the approach to i
the problem, the results were successful. Sir Hiss ben¬
efited immensely from these experiences.
Since Kaa had been such a popular villain. Sir Hiss
was at first conceived as being larger and more sinister j
than the model finally used. A drawing had been made
of him wearing the type of hood popular in the elev¬
enth century. He looked powerful and mean and a little
ridiculous. This concept of a counselor snake, who
actually wielded considerable influence with Prince
John, was accepted for some time. Here was an evil
character who could get into places where he w ould
Inol be seen, through small openings where no other This was an unexpected role for a snake, and a fresh
animal could go He could slither up to his victims character for the picture We knew the audience would
withoul making a sound. Those around him were in accept him, in spite of his reptilian heritage, as long as
constant fear of being spied upon. He was a fearless we gave him an intriguing personality, and that seemed
villain who had power with the oppressor. What if he like a certainty since he worked with the erratic Prince
I overheard what someone said? This Hiss liked the role John. Sir Hiss was the counselor, with a sense of
of intimidating those around him. propriety and ot villainy. Smarter than his prince, his
nhe artist had made another drawing of a small world was the world of ideas. He was not a clown or a
snake posed on a cushion. He was wearing a short clod, as a despot’s assistant usually is portrayed, but
cape and a silly looking hat with a purple feather did his scheming in a gentle, intelligent way. He did
perched on top of his head, instead of an active, phys¬ not like violence.
ical type of villain who would enjoy getting out and Prince John enjoyed his relationship to Sir Hiss,
II searching for difficult information, this sketch sug¬ since it gave him the opportunity to express his feel¬
gested an ineffective, bright-eyed, nonphysical type. ings in a flamboyant. Shakespearean manner that few
So, partly because we already had Prince John and the others would have tolerated. But Hiss's weak charac¬
sheriff as villains who were capable of real harm. Hiss ter made him a perfect audience If the prince became
was cast as the fop who liked the soft life and proto-
col, his comfort and his importance. He liked clothes
Ikl suggested easy living—rather than the more aus¬
tere hnoded garb of the villain we first had considered.

AXIMATOR: Oil
Robin Hood,
«nmf Oliie Johnston - Dialogue: '
brill Hood. very load thi
twtJohir needed an un- Prince John I
pstf fef amid dominate. about his
hiUHns '.l ;j.n u d the r, d? mother. He t
Immdcr to the king so self by suckif
pi itaif he was willing much to the .
rpi!sp wish the constant his prissy ct
ppilrtf rfoir went with Hiss feels she
i the best way i
this childish .
 Prince John was constanily
humiliating his counselor.
Story sketches of Hiss show These were some of the
an imaginative approach to indignities suffered by Sir
aerial observation. Hiss.
 dissatisfied with the response he was pelting, he could taining as the picture progresses. As we discovered
always hi! his counselor on lop of the head, which he new facets of their characters, we were able to write
did rather often, However, the prince was all that Hiss increasingly sharp dialogue for them.
had. and his position gave him an importance he could I he perfect voice for our neurotic monarch came
get in no other way. Without this, he would have been from Peter Ustinov, His feeling that Prince John was
nothing; even w ith it he commanded no respect, When obsessed with the idea of being king came across in
the opportunity did present itself for him to he the the way trivial ideas were delivered in such a lofty
representative of the crown, no one would listen to manner, He would relish every word and dramatize
him. He could become haughty, hut he was always each thought.
ineffective.
Terry Thomas, who became our snake, understood
During the tournament sequence. Hiss suffered the
indignities of being sat upon, crump ted, dangled un¬
Peter Ustinov, th
ceremoniously before Prince John, and, finally, dis¬ Prince John, His
missed from the royal box Uler, when he saw through tot ion of the c
Robin Hood s disguise, he felt that success was at last helped the animat,
Htre rhe shaltotvn,
within his grasp. With this piece of news, he surely
Prince's persona,
would be praised and respected. He could taste the enter raining way,
thrill of victory. Put. as usual, the highs in his life
were measured only in seconds. He was intercepted by
Friar luck and Alan a Dale and stuffed into a wine
barret.
If Hiss could have chosen Ins own rote in the pic¬
ture. he probably would have picked the one suggested
by that first drawing, tor as he played out the part the
way we decided he was hit, beaten, criticized, accused
in every way, and suffered great indignities through’
out the picture. Through his gentleness and persist¬
ence, he did achieve a kind of pathos with humor. In
spite of his pathetic, desolate existence, he was funny The voice of Terry
as Sir Hiss, helpa
without trying to be funny. He never gave up: this was
the snake from a h
his life. The spectators had enjoyed seeing Kaa get lain to a fanny, syn
physically beaten up because of his evil intent, hut rascal.
they almost felt pity for poor Hiss when he received
repeated abuse.
Hiss and Kaa had one personality trait in common:
when things were going wdl, they never knew when
to stop talking, On occasions when Hiss was flattering
Prince John, the words would pour out of him. He
never seemed to realize that he was going too far, and
ended ap losing everything.
The interrelationships of these characters were of
particular importance in Robot Hood, because the story
was secondary to the characters. There was no real
suspense in Prince John 's many attempts to catch Rob¬
in, They arc showcases for the histrionics of the two
villainous actors who become richer and more enter¬
Prince John has just been
robbed of everything bus
his underwear. An annoyed
Hiss, who warned him that
this H’tfJ happening, runs
over to him in a believable
but nonreplilian fashion.
Sir Hiss just as wdl, and could capture the hurt feeling
in his voice after cutting reprimands by his master.
Drawings immediately came to mind—of this counse¬
lor sulking with a petulant expression. Perhaps the
best thing Terry did was to fortify that nervous, inef¬
fective quality that we wanted for contrast to the unpre¬
dictable prince.
The subtler shadings of this snake's personality were
based on real experience. Occasionally, over the years,
there had been men at the studio who in their determh animator. Otlie Johnston—
nation to please Walt did a fair amount of bowing and Rubin Hood.
scraping. In spite of our annoyance, we had to laugh Dialogue: “Another hiss
at them. Suddenly there was a place to use these ob¬ out of you, , . uhr ,. uh, ,,
Hiss, and you are walking
servations as our cartoon character matched the real¬
to Nottingham/’
ity of human actions. " Now, what was so funny about Ustinov felt that the Prince
the way those guys did it?” With this much depth to was seif-centered and for¬
his personality, Sir Hiss was a very interesting snake, getful and spoke the line
with a preoccupied hesita¬
Kaa moved and acted like a reptile, while Hiss, like
tion. This suggested to the
his master, appeared to have enjoyed the soft life too animator that John was so
much to have developed physically. Hiss did not slither engrossed in preening him¬
in a reptilian way, but inched along or sort of crawled. self that he had difficulty
remembering Hiss's name,
If he was in a real hurry, as he w^as when Prince John and was even reluctant to
was chasing him with the club, he would hop along on leave his image in the mir¬
the end of his tail, pulling his coils up like a skirt. We ror to turn to his counselor.

Hiss’s reaction to another

of Prince John's wild
schemes is weM summed up
in this bleak took.

435
 wanted him .to move in a way that was special to like twro arms. It gave an attitude, an imaginative touch,
him—not [ike Kua. and a funny picture.
We were no longer restricted by a real snake s anal- Story men Vance Gerry and Brie Clc worth went fur¬
omy or construction, because with this much character ther in their thinking, coming up with all manner of
development we were caricaturing a personality more activities based on the idea of a prehensile tail, He
than a reptile. I his always allows more freedom in the could hold his glasses, w-rhe a message, count money,
actions and movements, as long as they are in keeping even put the tip to his lips in a shushing action His
with what the character would do. Ken Anderson had coils took the place of an arm as he cringed to ward off
made a sketch of Hiss sulking in his basket, with his expected blows from Prince John,
coils draped over the rim so they looked very much He was given teeth because it helped in the type of

Prince John was too inse¬

cure to accept the blame
when his plans went awry
and always look out his
frustrations on his counse¬
lor.

scenes in
ngfror this
sketch of
fter Prince
'bed him to

animator Of fie Johnston,

H iss had to escape the an¬

gry charges of his master
any way he could.

Q
Inspirational Sketches for Robin Hood
expressions that were needed, and the animator decided want to he entertaining above all.
to have fun by using the gap in Terry's teeth as a
As I go along living with these guys over the
model, which gave an opening For Hiss's tongue to
years, ! learn more about them, and the more 1
dart through. He even had hair in some cases to
learn, the more exciting they are to me, 1 know
strengthen certain ideas. Whatever fit the situation and
what they like and what upsets them They are real
the personality was acceptable. What is entertaining
people to me—w hat (hey do comes from inside them,
about a snake? Everything!
and from inside me. To me they exist, and I spend
There was one last ingredient (hat made this sinister most of my waking hours with them.
reptile into an appealing villain. Just as important as
I have to plan carefully so that every frame means
all the story work and character development and rela¬
something, 1 must make the audience feel what I
tionships aaul acting was the feeling the animator had
(eel, 1 may never have an opportunity like this again.
for this character. His understanding and affection
It is not often that we have a sympathetic villain,
imbued the little snake with a special quality that went
like Hiss, this makes him a different and richer
beyond his personality. As the artist reflected back on
character. I like to think about how he feels about
The challenges of this assignment, he revealed these
Prince John. I knowf he doesn't tike him. Many
thoughts:
times I think about this miserable existence we have
forced upon Hiss and I feel sorry for him. 1 wonder
There is a moment at the start of a picture that I cal!
if l should have Prince John hit him so hard I also
(he animator’s moment, 1 sit at my board staring at a
wonder if there isn't something I should do so that
blank piece of paper, J have a sound track and end¬
he could gain a little self-respect, but then 1 realize
less ideas from everyone on how my characters
he is what he is, and J would be weakening his
should look and act. This moment is the heart and
relationship writh the prince if 1 made him a stronger
soul of the whole thing, I have thought a lot about
personality. The best 1 could do for him was to let
what 1 will do with these two personalities, hut
him have his fleeting moments of happiness, those
putting the first lines down is still kind of awesome.
moments when his world was right.
1 want to start out right. This is my chance to mold
This is the pan that makes animation like no other
these characters and give them the relationship as I
medium. Fo he able to play with the emotions of my
see it. 1 am eager to get it on film and see them
characters, and know that 1 can make them laugh or
come to Jile. I have thought about the expressions,
cry or become very angry, is to experience animation
and 1 know just how 1 want Hiss to look when he
at its best. It is difficult to explain the thrill! get out of
hears Prince John say, ‘Hang Friar Tuck" But
seeing my drawings move through the changes in
first [ have to build to that point. Now is the time to
expressions and attitudes, in a way that gives them
think of the things I have learned over the years 1 that mystical quality of life.4

Both dialogue and expres¬ "With neither arms to ward

sions required teeth in the off blows nor shoulders to
snake's mouth. In order for
hunch up. Hiss cringes be¬
the tongue to still have an
hind a loop in his body to
opening, a gap iva.? left protect himself from the
between the front teeth,
Prince's angry assaults.
patterned after the famous
orifice of the snake's voice,
Jerry Thomas,
II
16. Animating Expressions
and Dialogue
After we have given the men all the suggestions we can that have to do with expressing ideas through the tody,
then we cent come down to the value of the facial expression—the use of the eyes, eyebrowst the mouth—their
relation to one another—how the eyes and the mouth have to work together (sometimes) for expression—how
they work independently for expression at other times. In other words, then we would go into the combined use
°f expressive features and expressive actions of the body/ ’ Wall Disney

One of our art teachers told us that the eyes in self- Later on, as lie becomes more arrogant, he lifts his
portraits reveal how an artist feels about himself. Every chin and looks defiantly at the world. Then, as he
young painter stands in front of the mirror and finds ages, he turns his head and looks with wisdom out of
that his true personality seems to be revealed as he the comers of his eyes,1 showing, as Coleridge said,
lowers his chin and looks out from under his brows. "Common sense in an uncommon degree,1'
iking up have mure
-a little guy with a
item. From the left,
she skunk in Bani-
•pey from Snow
early model Bash*
Snow White, later
Sashful with long
?s; and Pluto the

Relieves he to shot
stead of the moose,
loose Hunt {1931), single drawing or painting, but they never can show
tugs are shown in
anything except that one attitude.
'er cartoon symbols
rw before the days This brings us to the heart of what the animator or
$ the actor can do. Imagine that while you are looking at
one of these portraits, the subject gradually lowered
his brows into a frown—paused—and then lifted one
brow and glanced to the side. You immediately would
sense a change from one thought to another Some¬
thing very important happened! Through a change of
expression the thought process utfs shown. Since the
first discovery of this principle back on the early
Mickeys, the animator has found it to be his best meth¬
od of showing, his character's thoughts and feelings.
In those days there had been little need for any
'fhe early Renaissance painters always had their main expressions beyond the crude portrayal of emotions
figures looking up. It is an accepted tradition for the suggested by the situations. A character was happy or
innocent and the pure, but it does seem to be based on he was sad' he was frightened or he was mad; he was
truth and reality. The artists at the studio have used worried or he was cocky—and it often was difficult to
this attitude repeatedly for cute characters. Somehow tell the differences among even those six basic reac¬
they look more wistful, more hopeful, more vulnera¬ tions, unless something tike tears, or trembling knees,
ble, This was particularly important to Fred Moore, or drops of perspiration were added. Then, as Walt’s
even though it was an instinctive thing with him. There acting stimulated the drawing of body attitudes, it was
was more appeal when the figure was drawn looking discovered that there was better communication in the
up at you out of the tops of the eyes. Somehow you whole figure than in the face alone.
cared more for the innocent, little character. By the early thirties, the staff was able to do a
In each of our art teacher's examples there was an version of The Ugly Duckling that was all feeling, and
inner feeling the artist had about himself that caused though it was drawn simply the audience believed it
vas warmth in The
him to choose the particular attitude he did. While enough to enjoy the predicament of the lonely, deject¬
uckling {1931} even
the drawings were these examples are all expressive ones, they are static. ed, baby swan. Soon after came Playful Pluto and (he
npte and broad. They may represent the best that can be shown in one wonderful sequence of Pluto entangled with a sheet of
flypaper, Expressions played a very important part in
tire entertainment value of those scenes, and while
everyone admitted that this was only a broad cartoon
symbol for a dog and lacked any attempt at realism, it
was still felt that the door had been opened for even
greater achievements in animation.
In the next five years, everything possible was tried
in the way of facial expressions—some so complicated
they looked like road maps, others so simple they
lacked interest. Refinements brought subtlety that, in
dim, often brought vagueness. Some expressions just
do not seem to work well in animation; they may be
too obscure or too difficult to draw. In this case, the it does not animate properly. Do nor be afraid to dis- Atimm. O
story situation should be checked to be sure it calls for card your best drawing if it does not fit your action. It TtlE Rescue
a very specific attitude from the character The artist is the idea that is important! Theanimok
also could try a simpler expression, something that (2) Do not let the expression conflict with the dia- ri&ht
offers more caricature. He should try it out in thumb¬ logue. Nothing can be more distracting than this. Anena *J5P«mhw I
i- x , * . , ,, character,
nails, turning the head around, strengthening the lines fc nters, the A meri c a n m ime, to] d her c I ass, ” The most smite only c
of the face, searching for the best and dearest way to obvious problem was to avoid deflecting Ehe meaning a front o
stage that particular expression. Often the animator of the line fof dialogue! by erratic movements. The
may think of the right expression but becomes dis¬ way a character walks, stands, sits, listens—all reveal
couraged with it because his staging does not show it the meaning of his words.”2 This rule would apply to
to good advantage. Only careful experimentation will pantomime as well, where it could be equally disturbing
reveal the best method of communicating an idea. to have a character make an expression that does not
tit the personality.
Tips for staging expressions: (3) The expression must he captured throughout the
(1) Resist the temptation to try to re It too much in whole body as welt as in the face. If the character is
one drawing. The important thing is that the drawing defiant, his eyes, brows, mouth, cheeks, and head
be quickly and simply read: no matter how beautifully attitude will be defiant. If any more of the figure is
it may be drawn, it should not be forced into a scene if shown, it will be defiant too, with clenched fists, shoul-
 tiers back, feel apart, and a belligerent thrust to all the
related parts. Any expression will he weakened greatly
if it is limited only to the face, and it can be completely
nullified if the body or shoulder attitude is in any way
contradictory.
We had learned what to draw and when to draw it,
but we still had much to learn about how to draw it
We watched the best acting in the live action films of
the time, but the expressions seemed to be far too sub¬
is a Three-dimen-
li mapped in fids tle for us to attempt. The overacting of twenty years
*ai only a smalt earlier would have been ideal for us, but a new school
1 its surface of realism and fine actors had taken over Hollywood.
Eyes blamed with anger, or burned with passion; they
snapped with jealousy, shone with happiness, twinkled
with humor, sparkled with enchantment, darkened with
suspicion, or wrere aglow with love. Some seemed to
drill right through you. None of these eye expressions
s that work on the
■r lid, upper lid, could be drawn no matter how we tried. We looked at
and brows ail our drawings of Mickey and Donald and Pluto and
he shape of she thought, "There's got to he another way."
area of the eye
iotas show the
shapes of the eye
ese forces.
The Eyes
As we always did when confronted with a new prob¬
lem, we went to the real thing: the face, the eyes, and
the brows, and tried to find out what made them work.
The studying of photographs of real eyes revealed an
obvious fact that was startling in its importance to
us—the eye changes shape! We knew that the lid could
half-close the eye, but there were other forces pushing
up from below and tightening at the comers, causing

of exp res-
videns in just she

{ XW&

<!
 [he eye to assume quite different shapes, from one
expression to the next.
When an actor has to portray a robot or a sleep¬
walker, the Jirst thing he does is to tlx his eyes in a
scare, a lifeless gaze with no movement If he wants to
portray an exuberance for living, [he actor changes
expressions constantly with darting looks, happy looks,
and quick looks. Dancing eyes and sparkling eyes have
a great deal of movement, ranging from wide with
excitement to crinkled in laughter The animated char-
acter somehow has to capture these same elements. If
the eyes remain constant throughout a scene, the char¬
acter will he consistent and look like the model sheet,
but he also will look like a doll with painted eyes. This
quality was used purposely in Pinocchio, first when
(he puppet was lifeless, and later when he was dancing
with the marionettes in StrombolTs show The eyes
presented an interesting problem since Pinocchio was
still a wooden puppet even though he had been brought
to life, and part of the device that made him puppetlike
was to keep his eyes as constant as possible, giving
him a wide, innocent stare. Now/ he was working wdth
real puppets whose eyes were only paint, and there
was a fine line to be drawn between the lifeless and the
living, while keeping both as puppets.

Cartoon eyes show squash

and stretch from the same
forces that work on real
eyes. They also him at the
infinite number of expres¬
sions possible through open¬
ing more, closing more, or
changing the direction of a
look.

7v.
0 T,v-.-r7 Tryv^r SB c ■ i , ■ A

'\ r A \

Q't)
CL
When Drawing Eyes . . Dwarfs withf
in the white
pear to be st
The eyes are the most important part of space, instec
an expression and must be drawn with White off$ta£
extreme care. Any jitter or false move on
an inbetween destroys both communication
and beiievability.

Position of the Pupil Within the Eye,

I . When there is too little

of the pupil showing, it will
be difficult to make a strong
statement of either the ex¬
pression or the direction in
which the character is
looking. Pupils not h
same direcn
expression li
2. This pupii is clear and
definite for a look to the
side.
Three ways to animate a
look to the right:
This is the weake
3. Aj the pupil moves
away from the rim of the
eye, the direction of the
look changes.
This is stronger.

4. As more and more wh ire

surrounds the pupil, there
is an increased feeling of
This is strongest.
excitement and intensity.

The rising eyelids fortify the look, the change of direction empha¬
5. White fdl around the pu¬ sizes it, and the blink stages it by not only increasing the amount of
pil gives a vagueness to the the move, but by shutting out the white of the eye briefly, then adding
expression and makes the it back on successive drawings. Blinks are good on any shift of eye
direction as they call attention to the change, as weit as allow the

C
direction of the look un¬
certain. animator to make the expression stronger.

Fred Moore had

\ 6. A smaller than normai pie for drawing si
, \ pupil gives a dazed took, a eyelids, and brov

0
} withdrawal from reality or cles expanding r
J lack of vision. same point. Itkep
direction and rei
in the eyes.
7, This cartoon symbol for
a drunk or knocked-out
character was used exten¬
sively in the early films, but
generally abandoned
by the mid thirties. A slock
symbol can be useful, but Look for opporn
always will destroy any have pupils leadi
feeling of realism. rection of the loc
 This placed a special burden on the clean-up man
and inbet wee ner, who bad been taught to emphasize
the changing shapes of the eye to strengthen the feel¬
ing of life. Now, with less movement in those changes,,
there was an increased chance for wiggles and jitters
on the screen, and the drawings had to be done very
carefullyt and thoughtfully, to keep them working
smoothly. An inbetween out of place or poorly drawn
may get by on an arm or a leg, but never on an eye. As
Wait had said, the audience watches the eyes, and this
is where the time and money must be spent if the
character is to act convincingly.
For Disney cartoon characters, the basic shape cho¬
sen for the eye wras the early formula of a circle. This is
not (he only way to draw an eye, but this shape has
given us maximum expression. Walt would keep prod¬
ding us to come up with more realism, but we always
came back to the circle. We have refined it but never
found a better shape. Many artists tire of the old,
round eye and w ant a more decorative design for some
pictures, but often they lose more than they gain. Since
the eye is the most eloquent tool of communication,
added strengths must be provided in other areas to
make up for any loss here, or the character is apt to
end up with a lifeless, uninteresting personality that
the audience never can quite believe. It is up to the
animator to be sure be has not been lured into design¬
ing a tiny eye or one that cannot give the necessary
expressions,
Mickey's eyes were a special problem. They had
started as black pupils in large eyes that looked more
like goggles than an eye shape. Since the whole figure
was stock cartoon formula for the lime, the eyes worked
veil, but when the animator started making the head
bigger and rounder, and elevating the rims of the eyes
to the status of eyebrows, a strange condition arose.
The pupils were now considered to be the whole eye, a
solid, black eye like that on a doll. It was cute and
made a great design, but it created an almost impossi¬
ble job for the animator who was trying to draw a look
in any direction other than straight out in front.
Eyes wandering around the face tended to produce a
ARTIST: Fred Moore.
queasy effect on the audience, so the animator had to
curtail his attempts to make Mickey have that added Mickey's new eyes ust
The Pointer f1939) op
tottch of life. In most cases the restrictions were ban¬
up opportunities for.
died so adroitly that the audience never noticed, but expressions.
 ihcie were still times when the animator needed to roll
subtleties had to be given up. the audience had no
Mickey's eyes in a special look without having to
trouble in following how Pooh was feeling.
move his head. These restriclions were too limiting.
Piglet was more of a problem since he had the barest
What if RashUil had been drawn with a solid eye [hat
rudiments ot a lace. With only dots for eyes there was
had no pupil—or Dumbo? There would have been no
nothing to draw except the crudest expressions. We
way to get sparkle, excitement, and life—all of the
had to concentrate the acting in body attitudes and
variety needed.
hand and head gestures to compensate for this loss.
Sn eventually Mickey’s eyes were changed and
Occasionally a question is raised whether button
pupils were added, opening up new acting possibilities.
eyes should blink at all since there is so much charm in
He could now look innocent or embarrassed out of the
keeping the realism of the doll. Some artists fed thev
lop of his eyes -or he could glance to the side without
are losing their basic design if they alter the shape in
the expression falling apart.
any way, but they arc throwing away their best symbol
On Winnie (he Pin>h, wre had less of a problcm than
ot file with this limitation. Ken Anderson expressed it
we had with Mickey, because he was a sniffed toy and
well, "This creature has magically been imbued with
was not expected to have eyes that wandered on his
life, and pan of life is the ability to blink the eyes and
face. It seemed appropriate for him to turn his head in
get expressions. It has to pick up these accomplish¬
the direction of his “looks," and this actually gave
ments or else it would only be getting half-life/’
him a Jess sophisticated feeling that was more in keep¬
Compared to Mickey or the dwarfs, the Bambi eyes
ing with a "bear of very little brain." With this type
appear to be very realistic. They are caricatures of a
ol acting, we always could keep the eyes in a close
teal deer s eyes rather than being cartoon eves. We
relationship with the rest of the elements that gave
had the suggestion of a tear duct and had a carefully
expression. As the mouth and the cheeks animated,
drawn upper eyelid with a thickness to it that fit over
the shape of the little button eyes would be affected,
the eyeball, Ihe pupil with the dark center and the
and they would squash and stretch the amount needed
highlight made the eye the most detailed we had ever
to keep the particular action alive. Though many
drawn. Most audiences would have been hard pressed

mtl Pig-
f (which
r on the
' to turn
looking
actually
ke qutti-
to tell (hat a real deer s eye was any different. In spite
of all this detail, or disguise, it was still basically the
cartoon formula, just more refined. We could not have
squashed it so successfully otherwise.
\nI0I Dalmatians, Pongo’s eyes had (he dark cen¬
ter with a colored iris only in special cJoseups, There
was no detail like (he tear duct, but we did carry a
carefully drawn upper lid that helped fit the eye on the
head. Our problem on this character as well as on
Bambi was not in animating the eye itself, but in trying
to relate it to the other features (hat had to affect it for
expressions.

Hood, we used a shadow

effect that set the pupil hack The black i
under the lid. mouse has n
ing. and no
The little girt in The Jun¬ ther. Lor ou
gle li*M>k has large pupils Rescuers the
surrounded by a dark, off the eye, ei
dusky iris. We wanted to shape was u.
get the rich look of the Last as in any ca
Indian eye and, hopefully, ter. 11 was a si
a seductive quality as well. promise, gm
trig of a real

Lucifer, the villainous cat

F aline' a eyes
in Cinderella. had eyes with
a colored iris„ and a very realistic we e
small pupil. The shape was When details
duct, lashes, c
slanted and catlike, except
pupils were u:
in takes or surprised ex¬
pressions. curacy was n
drawing.
,Js eyes are extremely
? stive ami change
e radically as they
?V different emotions,
ir.T they ate mere slits,
i a puff of checks and
s, or they arc half
d in complete con¬
tent, or wide with
sity. The dog can con-
ome of this, but he
Is his feelings more
ds body, general atti-
cocked head, and his
ulnrly expressive ears
rows. In contrast, the
has only two e.xpres-
j bland or excited,
wrinkled brow and
and head positions
emotions are clear,
' is not often in the
The pig has a limited
i but it is difficult to
guish whether he is
ed or merely sleepy.

I
Eye Blinks
Blinks may at first seem like the more mechanical side
oi animation, but they do many things to keep a char¬
acter alive. If there is an intensity in a look that does
not allow changing the shape of the eye itself, a blink
will keep it from going dead. If the eye starts to look
like a tennis ball or has the lifeless stare of a doll, the
blink will make it real again.

\s,. i
-4
 Blinks are a useful device to ease the shock of going

A 3 C P /V into a held drawing. There is always a visual jar when

the drawing suddenly stops moving, and the illusion
of roundness and dimension quickly fades as it is held
immovable. In most cases. 2 feet K frames (less than 2
seconds) is the maximum time a drawing can remain
on the screen without movement, However, the sim¬
tn blinks there should be a feeling of flesh and thickness to ple addition of a blink during the hold recaptures the
she eyelids. Where there is only one inbet ween, “stow out” living quality, keeping the spectators from realizing it
of wh extreme {see chart). if the in between is drawn in the is only a drawing after all.
middle, there will be more pictures on the screen of a half
Blinks will make a big visual change just by the
open rye than of either e xtreme position.
color alone, especially if the pupil is enclosed in a

ecf
labetweens should animate smoothly and not change angle
or wobble.
while eye. The dramatic change from light to dark
eyelid to light again can be very startling and un¬
doubtedly will attract the audience's gaze. The eye,
the lid, and the blink must be carefully drawn and
timed to convey the precise attitude of the character
when they have become so important.

The Face
We have found over the years that certain relation¬
Siinks of disbelief, puzzlement t or wonder usually are shown
H'Efft a slight squint. In the closed eye, the lop and bottom lid ships make an expression read. No one part of the
met across the center of the pupil, expression, the eye, or any other part by itself, is
going to communicate if the expression does not work
00 00 00 OQ OO QO
A B
as a unit. To get this unity, there must be a close
relationship between the crucial parts. If the features
arc spread too far apart it is harder to read them and
more difficult to make one part react to another. This
is, of course, because most of our experience with
expressions has been on the human face. An animal
such as an annealer, which has its mouth so far from
the eyet is a tougher problem than one whose features
In the flutter blink of a stunned or half-conscious look, the relate in a pattern closer to a human's. If the line of the Tke human
inbetweens are done as indicated in the chart at the left and strong relati
mouth has a dose relationship with the eye, it can
then exposed in the stagger timing shawm on the exposure the eyes am
chart. Only the white of the eye—not the pupil—is exposed push the cheeks up against the bottom eyelid in a smile, the cheeks
as the Ud gradually opens. (hereby relating all the key parts of the face. in any expr
 The animator must be very aware that he is working
with forms—not lines. The mouth, the cheek, the lids,
the eyeball, the nose, the forehead, (he brows are ah
made up of cartoon flesh that is lie mg moved about
with a definite plan, I he cheek must he regarded as a
solid mass that retains a certain volume whether it is
stretched to accommodate a wide-open mouth or pushed
into a new shape by press arc from the corner of a
closed mouth. In an extreme smile, the cheek even
may be forced across the bottom part of the eyeball
itsdt Now everything is squeezed up together.
When the smile is relaxed, these forms all will sepa¬
rate. This gives dimension to the forms as they change
in relationship to each other, squashing up or stretching
out—and it is the use of this fundamental principle
that gives I i t e to the i ace. As (he cheeks drop a wav
from the eyes, the nose will drop slightly, the mouth
wilt make a larger move, and the whole head will
elongate vertically to help aecentuate the change.
When the brows are raised high and the eyes are
wide open on a character like Mr, Smee in Peter Pan,
or one of the dwarfs, there will he wrinkles above the
brows, In the normal position, the forehead may he
just the space between the brows and the cap. Now.
(he forehead being pushed up and squashed by the
brows will be full of wrinkles that may even extend up
past the edge of the cap, Still, this is not nearly as
strong as Norm Ferguson’s early drawing of Pluto
with the brows sticking up above the head circle. If
Smee were to go into a frown from this position, he
probably would have a move forward and downward
on the head, but this would be much less than the
iiJiM. i ot the brows, (or they define the expression that
must be seen,
A* the brows descend, the flesh (hat has piled up
behind them flattens out. When they contact the circle These crocodiles from The
of the eye, they begin to push it down and change its Rescuers had no dialogue,
and few of their expressions
shape. As the frown becomes more intense the pupils
demanded complete distor¬
will be partially covered by these rolls of flesh. There tion of the reptilian shapes.
is a thickness to these brows, more refined now than
(lie roll ot flesh on Pluto, but still representing the
same principle,
li takes more than mere lines gliding back and forth
over the face to register emotions—the face must seem
lik flesh—and the movement must be timed to have
the feehng ot weight, Naturally, in a take the expres-
ytla drawings
Le jAoi+'j what
ir is feeling:
d cheek cause
lint, and even
affected top,
ning out or
depending on
the face, Un-
his, the shape
rhanges to fit
frt created by

sion change can be as fast as the animator wants (o

make it; certainly Bill Tytla made lightning changes
with Stromboli in dialogue. But in each case there
is a reaction afterward—a settling or follow through;
otherwise the flesh will lack weight and not he con¬
vincing.
The expression changes on Walt’s face were partic¬
ularly stimulating as he described something for us
must. Fred Moore— His acting showed the basic humor in the situation,
Snow White. but the activity in his face inspired every animator.
On each drawing of Sleepy, His brows wfou!d rise high in one attitude, then sud¬
one eye is open wider than denly plunge down into a deep frown, with the cheek
the other or one cheek is pushing against (he eye, giving an intense, piercing
squashed more than the
quality to his look. Then one brow would shoot up in a
other, m give life to the
expression. The bags under flowing shape across his forehead. This was truly
the eyes create a puffy„ squash and stretch used at its best to communicate
sleepy took. with an audience.
 Dialogue
When dialogue was added to the stories, animators
or a dip at that point. There was very little attempt to
suddenly were faced with a whole new problem. What
choose the most appropriate action while everyone
does the character do while he is talking? There had
was so desperate about getting anything to work
been single words and exclamations and short phrases
In many pictures the character sang the lines. No
belore, but now the speeches were longer and de¬
one remembers whether this was an attempt to make
manded some kind of acting. Walt previously had
necessary exposition more palatable or whether it was
created a mood with music or imaginative use of effects
just a way to avoid bad, amateurish acting during a
or occasional pantomime; now he was unsure of the
Jong speech, Walt felt that a singer with a pleasant
type of acting a cartoon character would use to support
voice established an immediate rapport with the audi¬
and fortify the lines he was saying, As long as the
ence, "If you like his voice, you like him.” (After
dialogue only sprang from embarrassment in front of
one unsuccessful meeting, John Hench quipped, ‘Tm
Minnie, or from a boy scolding his dog for doing
gonna start taking voice lessons!”) But, actually, it
something stupid, Walt knew how the character
was one way of drawing viewers into the film with a
should look and act, but as soon as the words became
positive attitude right from the start, There were many
part of the story the animators were expected to find
scenes of questionable acting that were carried by an
the solution.
appealing voice.
"Hi, Minnie” and “Watch out!” had been done
it the character had no reason to sing, he would
with only the mouth opening and closing, but when a
speak his lines in rhyme, which was not as easy for the
pig had to say, ", . . I'll be safe and you'll he sorry
animator as the singing, but this was better than realistic
when the wolf comes to your door,11 flapping the lower
acting. In Santa's Workshop the clerk tells Santa that
lip (there were very few lower jaws at that time) did
“Willy Brown for seven years / hasn't washed behind
not do the job, The animators tried nodding the head
his ears. ” Both the drawing and the action were crude
tip and down, but still there was no feeling, that the
but the combination wras successful in the theater. Even
voice was coming from the character. Something had
if the character did not quite look as if he were doing
to be found that would give the impression the charac¬
the talking, the spectators were not too critical because
ter was saying the line. The animators searched for key
they were enjoying what they were doing.
words that seemed to be said with more emphasis than
The big problem was to find a wray to accent the
the others and then put in an accent, a gesture, a bounce.
dialogue, or to match the accents already there in the
delivery. These were marked on the exposure sheet,
convincing type of acting~not ail the way through,
so the animator knew where they came. He had a copy
but in key spots. The Flying Mouse, released in 1934.
of the track and could listen to the lines over and
showed a new concept of a cartoon character saying a
over, but for him to capture the same feelings in his
line of dialogue, and while the animator saw it only as
drawings and timing was a real problem Heads wob¬
a tougher variation of the same old problem, it was
bled from side to side, hands were placed on hips,
actually another step forward. The whole story was
arms were folded—but by far the most popular solu¬
built on [he feelings of the characters and the changes
tion was to have the index finger point either up in the
that occurred as the situations developed. The charac¬
air or at another character. It was not really acting, but
ters were thinking, and making decisions, and revealing
it was an easy way to get the necessary accents to
new emotions, and, most of all, interacting with other
match the feeling of the dialogue.
characters in the story. The pointing finger was too
Some animators varied this a little by usimt a limited for this kind of acting.
clenched tist instead of a finger exended, but it was
The following year brought a success and a disaster
still the arm accenting the words, and, usually, every
The Tortoise and the Hare contained the sharpest char¬
word that was said. Walt inadvertently curtailed that
acter development, the clearest personality expressions,
approach by planning stories that demanded a more
and the best sync with dialogue yet achieved. In cm-
trasl. The Golden Touch failed all the way around, He loved his flowers and his fountain and his food
Everyone was puzzled. What went wrong? Why did it almost as much as his gold.
not work. Everything done had worked before] singing I hen alter getting his wish that everything he touched
some lines, speaking in rhyme, pointing a finger for would turn to gold, he gradually realized that he was
accents, wobbling the head on the dialogue. It had losing everything he loved and was faced with starva¬
been a wonderful acting opportunity, too. for this King tion and a slow death. What a situation for an actor:
Midas was no miserly monarch, mean and thin, a the thought processes, the concern* the despair, the
skinflint hoarding his gold and hating the world. He mounting panic. There was a wealth of possibilities,
was a happy man and enjoyed his wealth and his life, but somehow the cartoon did not come off, More was
 animator had used a different body attitude on each
phrase with appropriate gestures. There had been a
slight pause at the end of each phrase, which gave a
chance to display the expression while the body was
quiet, The next phrase had a new attitude w'ith a new
gesture, and perhaps a variation of (he expression,
This simplified the whole problem of dialogue by elim¬
inating all the extraneous moves that had kept the
character moving without meaning.
1 his began to focus the animator's attention on a
needed Lb an mere gestures, happy smiles, worried
relationship ot attitude* gesture, and expression, and
looks, and a king running around the courtyard for the
without realizing the advance being made, he started
audience to relate to the character.
asking questions as he studied each new scene. "What
That was 1935 and work already was starting on
should this character do on this line—lean forward?
White, a picture that demanded far more in con¬
Lean back? What is the point here' why is he doing
vincing characterization and believable acting than any¬
anything in this scene? Do I wanl to show (his silly
thing done before. Both the tortoise and the hare had
grin on his face, or just pm over that he is happy and
been broad comic characters shown in strong situa¬
not worried about anything? Can I do it better in a
tions (hat had insured their success, hut The Golden
close-up or in a full-figure shot?" As he asked these
Touch was more like the feature being started. How
questions, he was thinking of acting and personaJiiv,
could Snow White be successful if King Midas could
and this would soon lead to a new kind of believabilily
not he made convincing? There would be no problem in the animation
with the dwarfs, stumbling around, humping into each
Ot course, phrasing u line of dialogue did not answer
other as they try to discover who is in their house, and
all the problems. In Pluto s Judgment lJn\' there were
only minor problems with the queen consulting her
several scenes of the cats in Pluto’s dream testifying
mirror, since that could be carried with the strong
about all the awful things he had done to cals. One
dramatics ot the situation, But the dwharfs arguing about
very round cat had been chased into the paih of a
whether the young girl should stay and where she
steamroller and been flattened wafer-thin The gag
should sleep and, especially, crying sincerely when
was that on the last line ot his testimony, he would
they chink she is dead—how could we ever succeed in
tutn sideways and walk off, showing his predicament
making the audience believe?
and making a funny contrast to his appearance in (he
As the animators studied the problem, they began to
thiee opening lines. To aid in this visual contrast, he
see chat meaningless, unrelated movements of charac¬
carried a balloon that somehow had become just as
ters during dialogue destroyed what little personality
thin without popping, ft was a cu(e gag with a surprise
(hey may have attained in earlier scenes. They already
twist, and every effort had to be made to support (he
knew that a mouth flopping about like that of a ven¬
illusion that he was really a very fat cat at (he start,
triloquist s dummy lacked conviction and a head bob¬
flam Luske was given the scene, and he talked it
bing back and lorth did nothing to develop the char¬
over with his young assistant Ward Kimball. The first
acter. They also realized that too much movement on
line. That great big bully picked on me," seemed
the character made it impossible for the audience to
fairly easy* and they agreed that the cat would point
see the expression on his face. In looking back at
toward (he offstage Pluto while he was leaning for-
scenes that bad been successful before, the animators
w.ard, with a petulant wiggle. Now he could draw
got the idea of phrasing the action in terms of the
back and stick out his stomach on the nexi line, ".
phrases of dialogue. When the fairy in The Flying
because I wras so tat," and either pat his tummy, or
Mouse had said* Brave little mouse, you've been
make a sweeping gesture with his hand. But the third
kind to me. I'll grant one wish, what shall it be?*1 the
line* "He chased me under a steamroller..." stopped
Ix>th of these creative minds. They thought of his run¬ Gradually the extraneous or arbitrary actions began
ning in place, turning in fear, doing a take at an imag¬ to disappear and a type of acting was seen that seemed
inary steamroller, hut nothing was imaginative enough, so natural and so right for the character that no one
mr seemed to fortify the line of dialogue. Finally could question the bdievability. There were still some
Ward suggestedt 'We re supposed to do something animators who telt they were not doing anything unless
different aren’t we? Well—how about having steam they had an arm waving or the head flip-flopping
come out of his ears when he says steamroller ?” throughout the seene, but eventually they learned that
Ham thought it was just crazy enough to he worth a these actions drew the audience's attention away from
try, but when Walt saw it in the sweatbox a week later the expression and contradicted the attitude.
he stopped the film with a long, slow, ”What in the The successful scenes were the ones where the ani¬
hell was that? ' I o him, it kidded the eharacter and the mator had felt the right expression, had understood the
situation and lacked the sincerity he wanted in his personality of his character, and knew how he would
pictures. Many limes he would laugh at a suggestion react to every situation in his own particular way.
or a bit of animation but still discard it because it And, fun her, he had avoided making drawings that
destroyed the bdievability of the situation, and Walt were just drawings, but worked to capture the feeling
believed in his pictures and in his men and in his of life. As Liv Ullman, the great actress, has said,“It
audience and would do nothing to break that bond. is what is behind the smile that matters/'
AMMATOR. Mi,
The Rescuer

Dialogue; ''(
hove, but wej
er. mustn't n
At the start i
Medusa look
stage toward
Pennyh they t
took at herse
ror„ The mnut
staged with o
but the then
turns to the t
the eyes, whU
ing to do Wlti
joying. She i.
occupied with
false eyelashe.
contempt and
Penny more c
If this aah
on a differed
togue, it migi
distracting, j
H'fj.vu'eW-cftost
not matter if
lost under la
the audience
engrossed in i
anee that the)
ten. The Squas
went beyond r
showed great
sophisticated i
mentals.
huma torQltie Johnston—
Robin Hood,

Dialogue: ' ‘Poppycock, fe¬

male bandits, rubbish, ha
ha hah,'' This dialogue
was delivered by Prince
John with an air of bored
arrogance, catting for a
dri fting type of action with
minor head accents. The
nearly dosed eyes with the
lids in a down curve helped
the feeling of contempt. On
the word. rubbish," he
turns away, rolling his eyes
upward in a gesture of im¬
patience. The same e.r-
press ion has been carried
throughout the scene but
with varying degrees of in¬
tensity. Jhe one thought
has been. "You, Hiss, are
stupid! I am clever
How Do I Make It Sync?
Even !hough iho animators on those early pictures with help very much. Then two frames, and finally three.
sound made a strong accent in the drawing that matched When the whole action was exposed throe frames ahead
the j rame where the heal was marked, something ot the actual heat, the character appeared to be moving
seemed to he wrong with the sync. “I put the squash exactly on the beat! Mysterious illusion!
drawing right whore you marked the X.” the animator The word went around the animator’s rooms, “Hit
claimed. The director answered, “Yeah, hut he seems the accents three frames ahead of the heat!" Mo one
to he late: I hear the sound before I see him do it/' On knew why it should work, but somehow it did. Then
the Moviola the sound head is separate from the pic¬ somebody had a scene in a tempo of eights fa beat
ture screen, so the film with the animation was ad¬ coming every eight frames), and when he shifted his
vanced while iho sound was left in the same place. At action by three frames he found he actually hit the
hrst it was advanced just one frame, but that did not half-beat and got no sync at all. For a jump, a (and, a

AWSfATOK. John Lout

—101 Dalmatians,
Dialogue: "You m&
old DeVil place?"
Sometimes the limit*
of a charaeer bring o
best in an animator
eyes of the sheepdot
partially or complete!
erecl through most c
scenes, so the animat
cased his attention c
mouth, The mouthpos
and changes in shop
excellent, hut what .r
ike scene unusual i
extensive use of the St¬
and the teeth. At thee
the phrase of dutlogm
month retains thefeeli
the last word rather
relaxing into a nondei
position. It took thoui
analysis by the anima.
pick,these elements c
his sound track and /
o way to handle this
ciai problem,
 i- hit, a take, three frames nearly always gave a better
illusion than having the extreme drawing right on (he

£ rt Ft*-tu
m
gll beat. Yet, in this case, it did not work at all. There
JttO T.riMj
seems to be no hard and fast rule on sync, whether it is
w on dialogue or a musical beat. One scene in Pirtocchio
had to be shifted a full eight frames ahead of the actual
T t. tJ^P-r-

I 4H
ZL
4^

I
sound before the character seemed to he saying the
line. It consisted of only two words, which might have
m been part of the problem, but no one ever has been
able to say precisely why any of this is so. The anima¬
a * j*:
%#-■
7T^ tors have become pragmatic; If it works, they do it; if
rtfd on the
it does not, they experiment. The best suggestion is to
f fj ' 7-Cfld1- 3
fn ffctf cns* t 4^- be alert to the possibilities of shifting any action against
F. f 23 the sound track until it appears that the character is

TJr matching the sound. (Of course, an honest attempt

voke of nr.
must be made to animate the feeling of the sound in
long of(he
$Jf this diti-
wd a half
i 3?
the first place, or no sync ever will be possible.)
These general rules ori approaching mouth action in
^z
h averages Mtn «
dialogue are based on, and. refined from, the principles
second per *■
I n
n
that Ham Luske developed:

m
Ji3F. I, Anticipate dialogue with head, body, or gestures

Johnston—

l
three to four frames ahead of the heavy modulation* 5. There are not Uk> many straight in bet wee ns in
hat mouth syne should he right on the modulation. dialogue. You may want to retain one mouth a little
If it is a dosed mouth, it will he on the consonant* longer and then move quickly into the next one, or
and* if possible, remain dosed for two frames in vice versa. Bit her way you will favor one extreme
order to be seen, if you arc using "twos" and the over the other—both in timing and the shapes you
mouth action falls a frame ahead, that is okay. draw.
2, You need interesting mouth shapes that re dec I 6. If you have a word that has been stretched out
the personality of the voice. Look for shapes that fairly long* treat it like a moving hold. Make an
give you an extra touch of character and are peculiar extreme which shows the shape you want* then make
to this one personality. You have a different voice a second one that is even stronger and "slow into”
for each character* and you should have a different it. If the sound is diminishing rather than growing,
mouth action for each voice. then your second extreme will not be as strong.
3, Try to show enough time on the important shapes Bit her way* you will keep the feeling of flesh and
so (hat the viewer will be aware that he has seen a life in the mouth,
picture of the word. 7. When using the eyes only for sync in an extreme
4, On holds at the end of a phrase or a line of closeup, start the eyes into the move at least three
dialogue* try to retain a mouth expression that reflects frames ahead of the accent. If it is a mushy* soft
live character of the last word. Do not change the line, (hen the action does not need to lead the sound
inouth shape just because you are through with the by more than a frame or two. If the accents are
word or phrase. Retain the character of the shape in strong, (hen you may want to lead by four to five
(he hold or pause with a softening action to keep if 1 rames. By "lead," we mean to have (he big move
alive. that far ahead of the heavy modulation of (he word.

I fit' same problem:

in drawing mouths
logue whether they
ro a bird with a rigi
a bloodhound will
jowls„ ora pretty lit
Shown here <70
basic mouth shop
dosed mouth, whir,
be a ' B'' or "M" o
the open mouth,
could he most any
and the puckered '
"t?" mouth.
 8.. When using a blink to help gel syne, the eyes mouth to get good sync and! make the lines of dialogue
should dose ahead of the accent by three to four convincing. Here are some of the methods we used:
frames.
9, If you are going to sunt your dialogue on a 1. Rely more on head moves.
drifting or slow move without an anticipation, it If the head moves arc properly conceived in relation
helps to start this move anywhere from three to to the dialogue, the expression on the face and the
eight frames ahead of the accent. mouth shapes become far less critical.
10, 'Fhere are times when all your dialogue will 2. Character rear view, in shadow or silhouelte.
have to be on “ones.'* When working with Brer Sync will come from head arid body moves as wed I
Fox's voice in So/tg of the South, we found that the as good gestures This type of staging gives variety
actor talked so last we could not possibly hit the ami often makes a very dramatic scene.
accents without animating all the dialogue on 3. Offstage dialogue, iCharacter talking is not
"ones.” Some of the words were as short as two shown.)
exposures and not many were over four. The camera might he on a scenic shot, some effects
11, The vowel sounds. A, E, I, O, U, always will animation, rain, a panorama, or some objects in u
require some opening. O and U are actually com¬ room that have a special meaning,
plete word sounds at times, The actors each will 4. Camera "on” a character other than (he speaker.
have their own way of saying these sounds. Some In showing one character listening to another char¬
will drawr them out and some will clip them off. acter's lines, you often expose the feelings of both
12, The consonant sounds, Mt P, B, are all closed of them at the same time—one through his dialogue
mouths. Keep in mind that (he mood of the charac¬ and the other through his reactions. This is a good
ter will determine the shape of the mouth. If he is idea to consider at any time.
grinning while talking, his elosed mouth will he
wide. If he is pouting* it can he a very "pooched- Listen to Your Track
up" dosed mouth. Say the rest of the consonants
over to yourself, always remembering that in se¬ Careful study of the sound track will reveal two very
quence you do not hear them the way you do indi¬ important things. First, the overall phrasing and lim¬
vidually. But in saying them you wilt get a feel for ing of the line, (he accents, the fast moves, drifting
them—where the tongue is and how much the teeth moves, the pauses. And, second, the personality touches
show on certain sounds All these things give a of the character shown in (he specific way a word
color texture to (he mouth as the sounds are made, is said that will be different from the way anyone dse
Generally, the ones that have the E sound show would do it. Neither of these things should be over¬
leeth. T and G also can pucker like a U+ and Y and looked, for between them they offer the key to how
W can go into a very small O or U shape. V and F the character is feeling.
are often best shown with the under lip tucked under The expression chosen is illustrating [he thoughts of
(he upper teeth. But listen carefully to your track the character and not the words he is saying; therefore
and draw1 little thumbnail mouths till you have a it will remain constant no matter how' many words are
series (hat works together and is entertaining. said. For each single thought, there is one key expres¬
13, Be sure the teeth are not painted white or they sion, and while it can change in intensity it will not
will flash, This can be especially annoying if the change in feeling. When the character gels a new
mouth is overarticulated. thought or has a realization about something during
the scene, he will change from one key expression to
Other Ways of Syncing another, with the timing of the change reflecting what
he is thinking.
Because of the limitations in design imposed on us in If the thought process is a sudden realization, (hen ii
many pictures, we had to find other ways he si ties the will he a quick change. If it involves a scheming action,
 ANlMATOt

flic Ad v
and Mr,

With hts
he rules
glen, It In
tie to kee
but his rt.
STMTS Of

I' jwAHtw /■ rank 7honuis— Can a doorknob be ani¬ care. Sizes that changed or except for a slight move at keyhole mouth ^
Alice in Wonderland, mated so that is appears tit filters would have been the lop its reaction to the feeling of enunei
he thinking about what it is more noticeable in this case
Dialog tic: "Nit, impass¬ brows lifting. The knob words very carefw
saying? The knob is a sim¬ bet attse the character is
able. Nothing's impossb itself moves hut never fits the stuffings
ple piece of machinery, and anchored tn one place- The
hie*" changes shape, so it retains voice.
had at he drawn with great outside edge stays constant its metallic quality. The

animator: Bill Tytla— Grumpy is fuming about be tying your beards up in ing you up with that stuff would help him ten
Snow White. the fact that the other- pink ribbons . , The called- par-foam!" he drops Tytla, even with h
dwarfs arc id! so eager to animator has captured the
Dialogues " She'It be tying his act and goes hack to net ing ability-, a sea
please Snow White. Ills wonderful sarcasm of the
ynttr heards up in pink rib¬ being mad. He momentar¬ get point twice hi
first major expression Itne as dumpy daintily pre -
bons and smelling you up ily has trouble thinking of on both occasions it
change comes as he moves tends to make little ribbons
with that stuff Called— the word “parfoom" and like the natural it
from his annoyed hunched - out of Ids heard.
por-ffront.11 puts his hand on the hack Grumpy to do.
over attitude two, ' ‘She'll A s he says, 1 "and smell - of his head as though that
 2S 2$

Dialogue: “Well, get on angry frustrated look as he

with itf Uh . , „ continue, yells. "Weli. get on with
my dear. ' if l" Next is the sudden
A fries i rated Captain Hookr realization that he has un¬
half mini with desire for masked his feelings. He
revenge on Peter Fan. is quickly regains control.
frying to coax from a jeal¬ and with an insincere smite
ous Tinker Belt the where¬ and an oily, sweet voice
abouts of his hated adver¬ says, "Continue, my dear,"
sary. The eye expressions alone,
The changes in attitude with the changes in shape,
are what make this scene tell what Captain Hook is
animator: Frank Thomas— Peter Pan, rich. Firstr there is the thinking.
 the movement will he slower. The stepmother iti Cin¬ arwst„ Frank Thomas—
derella, Prince John in Rabin Hood, and Captain Hook Cinderella.
\n Peter Pan were all schemers who took time to show
their evil thoughts A change to a smile or a puzzled
look may also lake time because all of these thought
processes are of a more deliberate nature; the expres¬
sion moves more gradually across the face and is likely
to remain there longer, In pantomime, the only key the
animator will have to the timing of these changes will
be the particular personality of his characters. With
the addition of dialogue, much of the texture in the
moves in his scene will come from the little nuances
and shadings in the sound track, which will suggest
■■wist: Oitie Johnston—
the speed of his actions as well as how broad or
Robm Hood .
restrained they might be. They will affect whether he
To be believable, the step¬
moves continuously or pauses and then continues. Lis¬
mother hod to be much
ten to dialogue carefully: listen to the thoughts and straighter. ond less of a
ideas— they are your character’s. He is thinking them, caricature, than Prince
and you must capture them. John.

Perhaps there is a mannerism that will fit and add

life. It could he a thoughtful move of the eyes, a ANIMATOR: Oltie Johnston—Swok
special glance, the tongue moving across the lips, the
character pulling on his chin, or pushing the hair out Dialogue: "Man will fly all ri,
rock!' ’
ol his eyes. Any ol these and other similar actions can
Merlin s attempt to prove that n
become part of the expression if chosen carefully If ends in disaster. Archimedes, the t
the actor doing the voice has delivered the lines as viitsed with laughter over Merit
though he was thinking them for the first time, they and reels back against his perch f,
his body sagging to the floor as h
will suggest expressions. As has been mentioned be¬
cannot resist one more took at
fore, it is absolutely essential that the actor give a plane, and to Merlin’s annoyance
spontaneous performance. If he suggests taking his hint off into another fit of bug
actor, Junius Matthews, sustained
lines home to practice, it is a good tip-off that we may
tious laugh for over twenty seevn
trot have the right actor. He is almost sure to give a at any time letting it feet forced or i
polished performance instead of uttering the unusual
little sounds that make it possible for the animator to
visualize expressions.
Above all the voice must be believable and it must
communicate. Our standard fora sincere voice speak¬
ing with spontaneity and reflecting a thought process
was set early when Lucille LaVerne was recording the
lines for the witch in Snow White Bill Cottrell, story^
mar and director, was in charge of the session and
said Miss LaVerne was so convincing that when she
read from the script. “A glass of water—please!—a
glass ot water!11 the assistant director leaped to his
teel and dashed out on the stage with a brimming cup
before she could get to the next line.
 By the final scent’. both
the actor and the owi were
completely exhausted, and
Archimedes only could
point feebly at Merlin and
finally slide to the floor
where he rolled and kicked
and gasped for air. Merlin,
who had bickered with the
owl throughout the picture,
could think of no way to
retaliate other than to puff
on his pipe and look very
irritated-
The Total Expression
Trying to think of everything at once tan he very
confusing. While worrying about the shape of the
mouth or syncing the action to the dialogue, it is easy \
to forget the attitude or the essential expression for the
whole scene. To overcome (hese obstacles is the daily
challenge animators must face. Another Fred Moore principle for relating (he whole
animator: Erie Lt
head to (he facia! expression. A frown compresses ad
All of our rules, lists* and. suggestions have come Pinoochio.
the parts, a “(tike'' opens them up.
from trying to unify our message into one statement Figaro throws ti t
that has impact. Someday* animators may be able to this beautifully .
advance into the areas of hidden meanings, sly sugges¬ bit of pans omit,
other; a conversation may be quite trivial, but often
could dialogue
tion. even double entendre. A quote from Allred the eyes will reveal what a person really thinks or have added lo si
Hitchcock reminds us that there are still some exciting feels."3 The violent, pet is.\
types of communication to be considered. “People A sequence overloaded with dialogue can become at she start, (he s
don't always express their inner thoughts to one an¬ (icipation, and i
very disturbing to the viewer, but hopefully this can be
stump into the fan
show Figaro s/?
heller than if he
what he was thin

animator Frank 1
Hambi.
■U-' 4 -

-c
ft' vHMi
discovered before too much of il is animated. On more 1. Show the expression change! .ANIMATOR. OUit
than one occasion we have tried running a sequence a. Avoid making a fast move while changing the Bambi.

without the dialogue track and have been surprised to expression. The ideal fat-
find it played beautifully with just the right pantomime b. Change your expression before the move* or ships are foun
ten like Thai
and the music. A key line may be needed here and at the end, when the character is moving slow¬
realistic enou,
there for explanation, but the idea of the sequence ly enough for il to be seen, to he eompnti
actually is communicated better. c. Do not lose the expression change in an active deer, yet he
"‘There is nothing wrong with dialogue,” T, Hee secondary action-such as a hand waving* a the same restr.
bits are soft a
once said, “You and I are using it right now. Hun¬ big arm action, or follow through on clothes, veating very
dreds of plays have been written based entirely on it!” 2. Avoid looking up for a frown, unless il is a sinis¬ structure, and
Bat somehow the cartoon communicates better through ter, domineering one, to be even sofh
faces rrtuve wit
expression than words. 3. Do not hide a smile with the head lilted down too
stretch. In o
If the line of dialogue does not require a strong* far or behind a big nose or moustache, deer has a h,
definite physical expression, it might be a warning 4. Be sure you have the right staging to show all the surface that r
that the scene should be handled differently. It should expressions in your scene to best advantage. bones. Softries
give a rubber
he reappraised both for the writing and the actor's 5. Have you the right expression for what your
delivery', and steps must lx? taken to improve any weak¬ character is thinking? Are all parts of the head
ness before more time is spent. and face related to this one idea?
Many of the scenes will be entirely pantomime, a. Do not change shapes too much all over the
which gives the animator a chance to build the emo¬ face.
tions of his character in his own way. This is more h. At limes, hold down activity on the face so
challenging* but when done well these moments can that just the mouth is moving.
be the most rewarding to the audience, This point is 6. As we were told so many times before we learned:
nicely illustrated by the story of a famous Greek actor 11 is the change of shape that shows the character
who lost his voice on the day of a performance. He is thinking. It is the thinking that gives the illu¬
went on anyway* but acted only with gestures. People sion of life. It is the life that gives meaning to
liked it so much that they said, “Don’t talk any¬ the expression,
more!”' Saint-Exupery put it so beautifully in his classic
la summing up, here arc some of the rules we have line, "It's not (he eyes, but I he glance—not the lips*
learned over the years: but the smile. . ,
& . X
i. ‘ .
'tern-< k
17. Acting and Emotions
hi our animation we tnus/ show not only the actions or reactions of n character, but we must picture also
with the action . . , the feeling of those characters.” Walt Disney

Leopold Stokowski recognized Waifs truly unique tal¬ In the animated film there is actually a double poten¬
ent when he commented, ‘ Walt had the imagination, tial lor this type of personal expression; first, in the
insight, humor, and sense of design to enter into the emotions of the characters in the film that arouse addi¬
feeling of life of any man, animal, tree, or stone aiul tional responses in the audience, and, second, in the
make us fed with him. ’1 From the very beginning, it artistry of the work itself. It will show in the writing
was obvious that these feelings of the characters would and the choice of the material, in the design and pre¬
he the heart and soul of the Disney pictures. The stories, sentation, the staging, the picture-making, the voice
which at first had been told through bits of business talents, the color, the music—and especially in the
and incidents, were told more and more through the animation. There are the individual drawings with their
reactions of (be characters to those incidents. The inci¬ elusive sensation of life, and there arc the relation¬
dents themselves remained vital to the story, but how ships of all the drawings in movement and time.
the characters felt about what was happening became In this book we have outlined the basic skills that
more important. must be mastered if strong, clear communication is to
In every art form it is the emotional content that he achieved. We also have pointed out many examples
makes the difference between mere technical skill and of line animation that became memorable because of
true art. The poet, sculptor, dancer, painter, singer, feelings the artist had about the character and the situa¬
actor—all eventually can become proficient in their tion, There was more than just frowning in anger,
crafts, achieving dazzling mechanical perfection, but more than a single expression, or even one lone con¬
their work will be empty and meaningless unless the vincing scene. There was real drama with the full
personal perceptions of the artist arc communicated as range of emotions.
well. This thought was stated most simply by one Too often there does not seem to be any real reason
studio artist when he noted that many of the young to probe this deeply into a character, but any omission
men “could animate beautifully, but that isn’t what here is soon noticed One critic complained that a
makes you laugh and that isn’t what makes the tears certain animated film had nothing more than a gallery
Come/’ of passions, as the character’s “face twitched through
its li mited repertoi re of grimaces over and over. C i re at trying to be humiliated, trying to be aggressive, and
they’re doing all these things , . and it’s lousy!
scenes were never built that way.
Is there a magic formula we have learned for build¬ And it lies there hour after hour—and you know it’s

ing scenes of great emotion into our pictures, of mak¬ not working and you think, “How can you get it?

ing drawings with persona! feeling that can transmit How can you make that contact?
And then right out of nowhere, somebody will be
the same emotion to an audience? An astonishing num¬
ber of people in the tield are not aware of the poten¬ doing a scene, and for a brief, maybe, 30 seconds

tial, nor, actually, understand how animation works. that damn thing comes to life! Suddenly that woman

Even Walt never realized what made some scenes more is a woman in trouble, and this guy is being mean

successful titan others, hut he was such an outstanding and you’re reacting, and your whole being is sud¬

storyteller that he knew what should he shown, what denly focused on that, and then suddenly it dissi¬

would hold act audience, what would get a certain pates. 1 mean, one wrong word, one wrong empha¬

reaction, and he could idlord to pay tor the tumbling sis, and the thing is gone! 1 think, “What made that
work? Why did that happen at that moment?”
errors of his artists as they learned.
It was the supervising animators who had to find the
more effective uses of the artists' limited abilities. That golden moment is our goal. That is what we

Working with their crews, they searched for easier must understand and recreate in our own medium.

ways, simpler ways, stronger ways, trying to find the Is it possible? As the animator sits at his desk flip¬

essence of the entertainment in the scenes they were ping the drawings and throwing them away and mak¬

doing. And here they discovered that increasingly their ing new ones, he probably should wonder at the au¬
dacity of anyone proposing to duplicate an actor s
problems were in the field of acting.
Several people at the studio enrolled in acting classes, artistic and moving performance with only a collection

seeking a greater understanding of the disciplines of of drawings.

The actor and the animator share many imeresis;
the theater Leo Salkin, from the Story Department,
they both use symbols to build a character in (he spec
reported his experience:
tator's mind. Certain gestures, altitudes, expressions,
and timing have come to connote specific personalities
f began to sense why certain people, good actors,
communicate and make a character believable. I've and emotions, some regional, others universal- B}

sat and watched young student actors, , and they’re using the right combination of these in the proper

saying (he lines the way they were written, and sequence, the actor builds a bond with the people in

they’re trying lo be angry, or trying to he sad, or the audience, and they are with him, they understand
 him: and it they like him they will be concerned about wants very much to achieve something and fails in a
what happens to him. These are the animators tools as way that hurts him; the other characters ridicule him;
weJI, bill while [he actor can rely on his inner feelings he tries again, fails again; the audience feels the hurt
lo build his portrayal, the animator must be objectively and starts to pull for the little guy; when he finally
analytical it he is to reach out and touch the audience. succeeds in a unique and heart warming way, everyone
Katharine Ommanney, in her book on acting for feels like cheering.
students, has defined the rules and the exercises that It is an old formula and the acting choices are ele¬
are the slops for the beginner,2 She asks the performer mental. As long as the central figure is sincere, his
lo consider these questions as he tries to communicate actions can be broad and touched with humor without
with an audience:
upsetting the pathos, I he ugly duckling's mournful
cry of rejection was a ludicrous honk, which only
Are Ihe characters interesting, lifelike, and vivid? increased the awareness in the audience that this poor
Do you become emotionally involved with them? little outcast did, indeed, have a real problem, laugh¬
Do the gestures and movements seem sincere, ter and sympathy were combined in a way that of¬
convincing, clear and properly motivated? fered a high potential for entertainment and for per~
Does all of the action help to delineate the charac¬ sonality development, but there were no great demands
ters and I heir situation for you? in acting.
Is the action clear-cut, realistic, prolonged suf¬ By the time the studio began Snow White, the ani¬
ficiently, and exaggerated enough to lie seen by the mators were being asked to depict much more than
whole audience?
just happiness and sadness. Mow, they were faced
wdth the task of communicating such subtle emotions
Undeniably, these are the criteria forjudging any per¬ as love, dejection, hate, jealousy, concern, and fear.
formance, animated or live. They sound so simple, The first real example of an entire sequence based on
wrillen this way, and are easy to pin up on one’s pure emotion showed the dwarfs crying beside Snow
desk—hut so difficult to achieve. White s bier; it was a critical decision even lo attempt ANIMATOR. Fm
The demands were quite simple in the early films, this type of sequence. The supervising director was Snow White.
limited mainly to gestures of annoyance that tried to concerned "that the audience would not react as we When the du
be "anger” and a kind of fright that wished it could be hoped it would, It was not a matter of what field size their grief
Tear.” Gradually a kind of formula developed for we used, or panning, or what character we cut to—ic White's deal
making ”pathos” the prime ingredient in a film, such asking rhe ,
W'as the mood in which we wanted our audience at the
share the em,
as The Ugly Duckling: an appealing little character time.” ' It was important that the viewers be involved cartoon chart
completely in the feelings of the dwarfs, and no one were being asked to respond to these cartoon figures in
knew how this could he done with moving drawings. a new1 way and to share their feelings of desolation. A
There were two enormous problems. laugh at this point would have destroyed lhe whole
First, the animators knew of only one way to com¬ concept. In the original version of this sequence, the
municate any emotion: show the change of expression audience had laughed at a crucial scene of Doc and
that would reveal the character's thought process. He Dopey. At that time, Dopey began the scene staring
had to move to stay alive, and a series of drawings bleakly with misty eyes at the offstage Snow White,
moving from one attitude to another w:as the only way before turning away to bury his face in Doc's shm.il-
known to establish the emotion. If he were seen to der. It was a touching moment; however, the viewers'
change from a portrayal of concern or worry to one of response to this shot of the usually jolly Dopey was an
despair, or from despair to fighting hack the tears, it anticipatory laugh, one that quickly turned to contu¬
might he possible to make him believable. But that sion and then embarrassment, hut by then the spell had
would make too much movement for [his sequence. been broken. Fortunately* this was easy to correct by
Obviously all the dwarfs should he overcome with cutting off the first part of the scene. How could any¬
grief from the beginning to the end. with no change of one have known ahead of lime? You cannot always da
attitude and as tittle movement as possible. There would it right the first time: many things do not work the way
be good impact on the initial picture, but what would they are “talked."
keep the dwarfs from going Hat and lifeless after that? There was an unexpected bonus from this cut. be¬
The other problem lay in the fact that the audience cause now Grumpy was the only dwarf with a major
had become conditioned to laugh at the dwarfs when¬ body move. He had been the last to give in to the girl
ever (hey came on the screen. Now, the spectators but he may have had the deepest feelings for her. Who
but Grumpy would he the one to sob openly at her any jitters, but we didn't want any short, jerky moves
bier'.1 He could not have put his head on someone’s either—and we matched the timing of the tears to
shoulder like Dopey, True to his personality, he must the contours of the faces. Unfortunately, my first
turn away and cry alone. tears were so well liked that more tears were asked
The animator whose assignment was to make this for* and then even some on all the characters. Soon
all come to life said: it looked like the worst hay fever epidemic of the
century, which was not helped much by the eager
It just felt like they should all move as little as Effects Department adding highlights and reflections
possible. These guys were consumed with grief and and glistening effects, until each drop looked more
wouldn't be moving around. They’d have strong like a marble than a tear. At this point, we backed
body attitudes that could he held for the most part, up and eliminated a few. To me, there was more
and maybe a sagging move on the head here and value in a tear-stained face than in all these rivulets
there, just enough to keep it alive, Even a sniff soaking their collars, but no one could devise a way
seemed too much action for the mood, Frank to create that effect. We settled for moist eyes, which
Churchill had written a great melody that really car¬ they could do very effectively, and lots of lovely,
ried the sequence, and my problem was more of not shining tears running down the cheeks."4
breaking the spell than establishing how badly any¬
one felt. Sad eyes, slow blinks, and a few tears These decisions proved to be right for the sequence,
were all that was needed. especially the decision to keep the dwarfs in nearly
So we drew very carefully and packed in as many "held" positions. Their subdued attitudes contributed
in be twee ns as we possibly could—we didn't want more to the working of the sequence than we realized
at the time. Undoubtedly, Walt was a big influence in done as in the dwarfs' sequence, but, since it only
this also, for he had written in his famous memo to illustrated what happened, it could not involve the
Don Graham in 1935 / “The animators don't make the audience. I his is a vivid example of the importance of
held positions and the relaxed positions express any¬ story structure in communicating an emotion.
thing. They try to do all (he expression with the parts These crucial feelings of the characters can be por-
that are moving—whereas the body should enter into trayed in many different ways. Besides using the struc¬
it,” But (he dwarfs dad not let Walt down by making ture of the story elements, there is the graphic presen¬
any false moves. The audience cried for the first time tation: the layouts, (he settings, the cutting, the staging:
during an animated cartoon. and there are all the facets of the animation: the acting,
The liim Bambi contained another reaction to death (be expressions, the dialogue, the attitudes. Story,
—this time very real—as the young fawn lost his graphic presentation, and animation are important
mother to a hunter’s bullet. A scene was animated of enough to be considered separately.
(he doe actually being shot in the middle of a leap,
throwing back her head and crashing to (he ground
Story—Structure
where she lay collapsed in the snow, but it was cut out
when we found that the sequence played better in the When the story is well designed, the emotions of the
imagination Everyone sensed the danger, knowing characters wilt be so logical and natural that little else
the hunters were near; and when the shot was heard it should be needed to make them work with an audi¬
did not matter whether you knew the mother was dead ence. The wise story man, however, also will learn
or whether you were as innocent as Bambi, returning how to use animation more effectively, and provide
to search for her. Jt was powerful either way. The tiny opportunities for dramatic graphics in the presentation
figure in the midst of ihe huge trees helped the feeling The best example of a great sequence created entirely
of overpowering loss, and the quiet of the forest at this by story is found in Cinderella, as the Fairy Godmother
point contributed to the sensation of loneliness. The appears. The girl has run into the garden in adramatie
best idea, however, came about by accident. When the long shot and is now sobbing with her head in her
stag appeared, he was too much of a shock, visually. arms; her friends, the mice, are staring dumbly, along
We wanted him to be impressive with a feeling of with the horse and the dog. and the only animation is
wisdom and compassion. Instead, he somehow' looked found in the tiny sparkles of fairy dust gradually con¬
ominous and threatening. He had to be in the sequence vening on the spot where the Godmother will appear,
in some form, so the decision was made to cover him Yet, everyone in the audience has a lump in his throat,
partially with falling snow, lightly at first, then heav¬ and it gets bigger and bigger as the scene progresses.
ier and heavier, so that in (he final scene the stag This is all due to the careful story work that has
would be only half visible, The snow also added an preceded this point in the picture. The people in the
immense emotional dimension to the whole sequence. audience know this girl, and what she wanted, and
We looked at each other and said, “Why didn’t we how she feels at this time. They also know her friends
think of that in the first place?” and what (hey were trying to do, and when this moment
Twenty years later there was another sequence of comes there is nothing more to be said. A simple
characters crying over the apparent death of a young scene of a girl sobbing, (he helplessness in the faces of
girl as the three Good Fairies bade a tearful farewell to her friends, and the magical answer to all the problems
Aurora, the sleeping beauty, Here, however, the story quietly forming before us are all that is needed, or
structure tacked the ingredients that would have allowed wanted. Anything more wrould be an intrusion.
this to be a scene of strong emotion. The character Another sequence that relies more on story (bin
relationships were not as important, and there was animation is the one of Snow White running in panic
little concern over the fairies' attempts to thwart the through the woods after she has left the Huntsman.
evil prophecy. That point was not felt to be the impor¬ This reveals more of Walt's sense of how a thing
tant one in this later film. The animation was as well should play and includes a very dramatic presentation
throughout* but it asks Tittle of the animator. It is an hi a strong story situation,
effective sequence, arousing great emotion in the very little movement is
viewer by thrusting him into the situation along with needed to sustain the mood,
C imtereHa ’ s friends watch
the girl. It is the events that occur rather than the
helplessly as the broken -
acting that involve him in this activity, but the consid¬ hearted girl buries her
erations are just as detailed and complicated. head in her arms, The main
How long does it take to build Snow White's terror? action consists of the magic
sparkles slowly gathering
How many incidents do we need to shock and scare? to form the Fairy God¬
Do we lose or gain by showing, in her mind, the logs mother,
in the water that appear to become crocodiles writh
wide-open mouths? the laces in the trees arc terrifying
to both the audience and the girl, hut how long should
(his be allowed to go on, beyond making the point of
what she is seeing? How long should she be on the
ground, sobbing, after the terror and panic in the
woods, before she secs the eyes in the dark—eyes that
gradually become innocent little animals? The audi¬
ence is more than ready for the humor that comes as a
release when the animals are curious about Snow
White, and even a little frightened of her. This is an
example of leading the audience through contrasting
emotions, and giving just enough time to each, with¬
out moving loo last or becoming redundant, turmoil than there would have been if he were only a
There arc many ways a character may be handled in visual symbol of a killer. The executioner in Robin OVERLEAF:
a film, and it is largely the responsibility of the story- Hood had no such role to play, so he was more omi¬ Snow White fl
man to determine the most effective use of the role, If nous by being completely impersonal. His judgment the forest in
a story calls for the main character to be threatened by was not involved in the decision to chop off Robin's leaving the Hm
death some kind of killer must be introduced, but what planning of th
head or to let him go, and the more he was presented
type of person he is will depend upon the way the cessfid sequen
as only a professional, whth no emotions, and not evert in the storybe
scenes are conceived. The Huntsman in Snow White a face showing behind his mask, the greater the emo¬ matte staging t
became more real by having a suggestion of personali¬ tional impact he had on everybody. Once again, the images conibh
ty His assignment was more than he could do, as it altitudes on th
sequence had not been built for melodrama up to this
volve the audi
turned out. and there was more drama in his inner point, since this lighthearted version of the popular terror.
 .t %
.
legend required only a momentary situation with the expression, the animator will be quite limited. But if
hero as a captive. However, the sinister feelings that the story is built so that the character reveals these
the sequence did have were almost solely dependent ted mgs in what he does and how he does it—reserving
upon this characterization of the executioner. the close-ups only for emphasis—the scenes can be
Killers can be presented m many other ways* each gripping and entertaining,
contributing its own values to the story. If the scene is I here is an inherent danger in animating scenes, of
shown entirely through the killer’s eyes, revealing even inner struggle, because most attempts to achieve clear,
more of his ow n feelings (or lack of feelings), there is concise communication cause the character to overact
still another dimension to the sequence. This perspec¬ badly and lose credibility. More than beautiful draw¬
tive is often used, especially in live action, because it ing and expert analysis often is needed to keep the
can show' how cold-blooded, how methodical or dia¬ feeling of sincerity, A special effort on everyone’s
bolical the killer actually is; which, in turn, builds part is required to find just the right scenes to display
more concern for the intended victim. One approach is the needed emotions, but n is worth the effort. The
no better than another, since the key factor is what queen in Snow White was handled very realistically, os
works best for the specific situation and what reaction was the stepmother in Cinderella, and they communi¬
is wanted from the audience, cated well. Both depended on careful drawing, chicl¬
If a scene calls for showing tense emotions such as ing animation, and flawless scene planning to make
anguish, scorn, bitterness, or envy with only facial them convincing; but with the story constructed so that
 animator: Ollie Johnston—-
Robin Hood,
Prince John„ in Robin
Hoodh based on a tradi¬
tional type of design, of¬
feredflexibility in the ways
his personality could be
defined, The evil fairy
Maleficent, in Sleeping
Beauty , had an aloof omi-
nous quality to her design:
tj she had been animated
with the normal changes in
these shapes her dramatic
impact would have been
lost,

ildepended on this meticulous type of work, there was the design, the settings, the color—all of the pictorial
no other way to do it. As the animators said, "No fun components. Their goal is to build a make-believe
to do, but needed for (he picturel"
world around the viewer, making him fee! a certain
Maleficent, the evil tairy in Sleeping Beauty^ showed way about what he sees. Every scene must say its
her feelings in a more dramatic and flamboyant way, message dearly with no confusion and no contradic¬
because the style of the whole presentation relied on tions, but it must leave something to be imagined.
design, color, and pageantry. This was reflected in her !n Bambi, there is a stirring fight between two male
movements, which gave the animator slightly more deer Beautiful animation was done of the battle, per-
latitude and freedom, but it was still an equally de¬ tect in drawing and movement, but somehow it was
manding drawing assignment. The scenes were impres¬ not exciting. The plan had been to draw the audience
sive without losing believability. lust as much intensity into the fight by showing close-ups of horns and hooves
of emotion w as shown by Prince John in Robin Hood, and straining muscles, yet seeing all this tended to
but (his sequence was structured for humor, so the ani¬ make it matter-of-fact, Walt had the answer; create a
mator could concern rate on the expressions and atti¬ mood, make the scenes dark and dramatic, let every¬
tudes more than intricate draw mg. As a result, it was thing go black, lose (he little pans, and define the
more lun for the animator
characters only by 4'rim lighting/' Use the music and
These characters showed hatred and scorn in their sound effects instead of all that drawing. Immediately
own way, but in a convincing manner. They were the sequence became tense and thrilling.
equally entertaining, bui they were in no way inter¬
changeable, which points up the importance of the
Dark figures of the,
dory man's knowing his characters and building his deer are made man
situations through them. and dramatic thro
use of silhouettes w
streaks of 1 'rim It,
Graphic Presentation to define the fort,
less the audience s
more will be imag.
Most of the examples we have discussed so far have
not mentioned that each required an excellence in the
presentation of the idea in addition to the story work
Seldom is emotion established on the screen only
through story, graphic ar(, or animation by itself. Here
Wi are separating them in an attempt to understand the
extent of the contribution from each. "Graphic pre¬
sentation" covers the cutting and staging, the planning.
cal Ways
i Can Build Emotions
tions of the Audience

Resist the temptation to

make everything bigger and
more gorgeous when you
need strong communica¬
tion.

I. REAR VIEW Sleeping lleauly.

The two lovers look off into the distance and dream their
private dreams, Since their feelings are better imagined
than they could ever be shown in detail, the audience dream
along with them.

4. OVERLAYS The Jungle Book 5.. DRAMATIC LAYOUT The Ugly Duckling,
lia loo is desperately searching for MowgH who has just run Overpowering shapes and a path of action going down the
away. Having Balaa partially covered by the branches in hill both add to the feeling of depression as the Ugly Duck-
the background makes a more rewarding scene than trying ting slowly walks away. The port rax at of his feelings relies
to draw his distraught face. on the layout that makes him took small and desolate.

8. HELD DRAWING
WITH C A M ER A MOV BS 103 Da I mati ansc
Some expressions cannot be strengthened by movement.
Instead of moving the character, a simulated feeling of activ¬
ity way achieved by slowly moving the camera—in this
case, trucking into a closer shot of the dog's eyes.
 2, SHADOWS Snow White.
3. SHADOWS OVER THE CHARACTER BamN.
Shadows are usually associated with suspense and drama.
Moline watches transfixed as Barnbi fights off the intruder.
Tney tan add interest and variety to a continuity while
The excitement of the situation is better conveyed by her
saving the rime needed to draw all the detail on each char¬
whole attitude, with the shadows of the action passing over
acter.
her, than it could ha ve been hy just the concerned expres¬
sion on her face.

6. PICTORIAL SHOT Cinderella 7. EFFECTS ANIMATION BambL

Cinderella had been prevented from gains to the royal baft.
Fine animation of forms from nature can establish a mood
Her keen disappointment is best communicated by the ro¬
*■ ithci by symbolism or showing what the character sees.
manticized view of the castle where she wants to be. A back¬
Failing rain „ a storm, approaching fire wit! quickly create
ground with a strong mood can save difficult animation.
strong feelings. The stark colors of these autumn leaves
foretell the harshness of the approaching winter.

9. OFFSTAGE SOUNDS Lady and the Tramp.

No animation is needed on a comprehensive shot of the
locale if appropriate sounds can build images in the imagi¬
nation. The entrance to the dog pound in Lady and the
Tramp looks forlorn and mournful enough, but it was hear¬
ing the howling and the barking and whining of the dogs
inside that really told the story.
 in The Rescuers, there is a very important scene on
the riverboat of the hi tie girl leaving (he cabin of the
viliainess Medusa and slowly walking up (he stairs lo
the deck. She has just been badly hurt by Medusa’s
callous remark, “Who would want a homely little girl
like you?11 and is fighting back (he tears as she walks
out into the night. It was decided (hut (he most effec¬
tive way to play the scene would be from a rear view
on the dimly lit stairs, featuring her very young age
and her helplessness. Once on deck, she is haihed in
soft moonlight.
When the picture was completed we wondered if we
had made the best choices. Would it have been better
it the stairwell had been completely dark, just a trickle
of light coming down from above, with the girl’s action
shown only in silhouette? The situation called for the
strongest mood we could create. When we saw these
scenes completed in color and in continuity, they did
not have (he visual impact they could have had. They
were dark and gloomy, but not dramatic. Perhaps this
was not a place to be more dramatic, and maybe (he
silhouette treatment would not have been the best way
either, but we still wonder.
In contrast to the benefits of not letting (be specta¬
tors see everything, (here are other times when forcing
them to look at certain elements might creale more
visual excitement. When the queen in Snow White
drank (he potions (hat changed her into an old hag,
there was emotional involvement because of (be fear
of the unknown. Watching (his dramatic change before
your very eyes held you spellbound and a little appre¬
hensive of what you might see next. What will she
turn into ? Will it be something hideous? Will I want to
look at it? This section was cut out of the picture in
Sweden as being too frightening for children, which
proves that, right or wrong, there was a strong emo¬
tional experience in the presentation of (he material.
Another frightcruing series of scenes is found m
Pinocchio in the sequence on Pleasure Island where
unsuspecting boys are changed into donkeys in pay¬
ment for a night of fun. This is a case where excel km
animation added even more than had been expected,
but it was the combination of the staging and planning
Some situations become more powerful bx showing aU the
realistic detail. This is particularly true where magic or that made this impossible situation so believable and
fantasy p'.ir involved, We were spellbound seeing the queen so scary. The mood had been started with (he scenes
gradually become an old. withered witch. ot the almost shapeless, all black, faceless workers who
We watched Pinocchio'sfriend Lampwick turn into « donkey In contrast, the face less workers on Pleasure island were
right before our eyes. more frightening because we could not see who they were.

were closing the gates and crating the donkeys, and The audience became involved in these scenes be¬
then a great voice track, along with the realistic han¬ cause of its understanding of the characters and the
dling of the backgrounds, the efleets, the shadows, feelings that were so familiar to everyone. But there
and all the details, kept the audience so involved that are other ways of involving the viewers besides get¬
their eyes never left the screen. The whole film would ting them to identify with sympathetic characters. T he
have been so much weaker and flaccid without this devil in Fantasia+s “Night on Bald Mountain" was
emotional surge to give it the necessary importance anything but sympathetic, and his feelings were beyond
and to make the fantasy so stirring. our comprehension, yet the scenes involved the audi¬
ences, drew them in, caused them to react to what (hey
Animation—Acting were seeing. To point up the difference, one has only
to imagine (he sensations that would have been aroused
The story man can develop the right business for the if, during this awesome ritual, a young boy and girl
character to perform, and the director and layout man had been seen as two tiny figures trying to climb the
can stage it and make the presentation graphically inner walls of that volcanic mountain without being
satisfying, hut it is the animator who must think deeply discovered, or perhaps progressing deeper into that
into the personality of the cartoon actors. Each must fiery cauldron on some important quest. Your heart
be handled differently, because each individual will would be in your mouth as you tried to scale those
express his emotions in his own way. stones with them, and you would jump at each sign of
The self-appointed leader of the dwarfs. Doc, would possible detection. You react to the evil characters,
sbowr defiance in a way different from that of Grumpy. but with the sympathetic characters.
He would have blustery, nervous movements, and take The same is true of Cruel la deVil in 101 Dalma¬
shorter steps. He never would swing his arms as tians, and she is a comic villain. Few of us could share
Grumpy did in his defiant walk after Snow White had her compulsion to skin puppies to make a fur coat, yet
kissed him. That U'alk, and the gradual stop as he we were completely involved in her sequences. Because
smiled, showing his true feelings, were part of the art¬ of our fascination with her explosive personality and
ful delineation of a personality in both story and ani¬ our enjoyment of her outlandish behavior, appearance,
mation, The conception was thorough in all respects: and actions, she was funny without losing either her
the staging of the expressions, the use of fundamental menacing quality or her audience. Whether people
principles like squash and stretch, the amount of time thought she was horrid, ridiculous, or wonderful, they
used to show each emotion before moving on to the all sat enraptured.
next one—these show animation at its best. In the next example, we arc involved through our
 appreciation of a situation and share the sensations of
the character, but without any sense of identification
with him. This is the case with the rather unsavoiy
Ichabod Crane as he rides the old plowhorse into the
tenors ot Sleepy Hollow. I hat sequence made anima¬
tor Blaine Gibson decide to leave the Effects Depart-
ment for the dramatic challenges of character anima
bon. The superstitious Ichabod gets increasingly
agitated the farther he progresses into the hollow, but
his sleepy steed is barely alert enough to stay awake. It
reminded Blaine of his own experience as a boy in
eastern Colorado. "Ichabod. and this horse, and (be
guy w hi siting—this is a cartoon, but I can empathize
Story sketches for Ichabod
with this guy because I've been on a horse out on the
Crane 949) by Joe Ri¬
naldi. Joe had a flair for farm at night when 1 wanted to whistle, because l’d
bold, dramatic staging and heard some noise and I wouldn’t know what it was_
could make cartoon char* and, also, the way the horse went! Somebody took the
actersfn into awesome en¬
trouble to analyze . . . what horses look like. It looked
vironments qu ite naturally.
tike a horse. These are the things that, to ine, made the
difference between good and bad animation. It’s ink¬
ing the trouble to put that little thing in there.'' Hie
animator on that particular section had indeed known
horses, and he had suffered more than his share of
miserable experiences in trying to get unresponsive
nags to behave like the wonder horse of the cowboy
movies.
This point in the picture certainly had been well
structured in the story development, and the presenta¬
tion was well suited to (he situation, but it was the
animation itself that c air ted audiences along, They
saw the (ear in Ichabod T eyes and in his whale atti¬
tude, and, as he licked his lips and swallowed, rhe\
could feel the sensation of the dry mouth front Ins
extreme apprehension. The musician Ollie Wallace
made an enormous contribution when he recorded his
own whistling for Ichabod's feeble attempts to keep up
bis courage as he came closer and closer to panic, and
the story sketch man Joe Rinaldi had done a masterful
animator Frank Thomas—-
Jchabod Crane (inter com¬
bined with Mr, Toad )

The animator carries the

ideas a step further wish
more care given to size
relationships and specific
business.

series of drawings exploring every possible position

for a tall, skinny man trying to hide on top of a horse,
So the animator had great help in getting started, but
the burden of the development and the entertainment
in the acting rested on his shoulders alone.
Once the Headless Horseman appeared, ihC whole
mood changed to wild, tumbling, comic panic* with
both Jchabod and his horse frantically defying all the
natural laws of weight and gravity—in a very believa¬
ble way. The screen fairly exploded with their feelings
of desperation as they slithered and scrambled on their
bellies, the horse so low that the rider was half-riding
and half-running himself. The viewers did not really
care whether Ichabod got away or not, but they were
completely caught up in the excitement of the chase
aldi suggests an ancl were thoroughly involved in the whole situation.
dr gag for the wiki
Such sequences are particularly tricky lo do because
ty the Headless
in, By this time, of the need for the tempo to be maintained and (he
s panic nvdj so in¬ action to become more and more tense, so the scenes
i' audience could
will build continuously to an cvcr-greater pitch of
believe his legs
excitement. An action that is just too slow, or a choice
id a horse during
of business that is too ordinary, can kill the overall
effect. Story structure cannot do much to help in this
case. The layouts and settings and the cutting play a
more important part, along with the constant experi¬
mentation, correction, and revision of the animation.
The sequence must be kept loose until it really works.
In Cinderella, there was the classic sequence of two
mice trying to carry a large and heavy key up two long
flights of stairs in order to free Cinderella from her
room before the Grand Duke had left with the glass
slipper. The characters had been well established sl>
that their determination and emotions were quite clear,
but the tension of their tremendous effort, which ex¬
hausted the audience almost as much as the mice, was
all in the animation. No one could deny that the spec¬
tators shared the sentiments of the cartoon characters
completely.
Back in 1935, Walt had asked some provocative
questions about just this type of action. "When some¬
one is lifting a heavy weight, what do you feel? Do
you feel that something is liable to crack any minute
and drop down? Do you feet that because of the pres¬
sure he‘s got, he s going to blow up, that Iris fact* is
going to turn purple, that his eyes are going to bulge
out of their sockets, that the tension in the arm is so
terrific that he's going to snap?”
Fifteen years later, these questions were well an¬
swered by Woolie Keitherman as he animated this
sequence, There is no doubt that the key was loo heavy
for the two little mice, that the pressure on them,
mentally and physically, was tremendous, that at any
: John Sibley—
?n[=urcs of Ichabod
Toad.
’d with fear. hath
\d rider scramble
jellies to dude the
word of theft ead-
serntm. Animator
'ey could make my
tiny as well as be-
 minute Gus's eyes could bulge out of their sockets or woman. She could do nothing but remain passive. The
that Jaq's face could turn purple, rite timing of these mice in Cinderella at least could temper their panic by
actions gave the frantic quality, and the strength of the doing something. In (heir desperate plight there was
extreme drawings gave the impression of effort and still a chance to reverse the situation if they just could
exhaustion. get the key there in time. For Perthta, there wras no
The most important element in making the sequence such chance. On (he storyboard, the drawings were
so outstanding, however* was the fact that these little impressive and gave o good, subdued feeling to the
mice were doing all of this because they cared very touching situation, The voices were recorded* and [hey,
much about the girl's happiness. Usually, this feeling too, were effective, adding sincerity and concern Rut
of warmth cannot be structured in the Story Depart¬ they wrere "straight." The characters themselves were
ment aEid must depend entirely on the animator for its "straight."
portrayal* but it remains a very mercurial sensation. A At (he story meeting, there was apprehension ex-
note cannot be pinned to the storyboard saying. 'Get pressed about the difficulty of animating such a se¬
warmth through here*" nor can it he written as an quence, There was nothing to get hold of to caricature.
action on the exposure sheet, "Animate 3 feet of The voice talent had given a heautiful. dramatic read¬
warmth." It cannot he analyzed, or acted out, or ing of (he lines, charged with emotion* but that type of
represented in the same way as an expression or a tension is difficult to represent. Even (lie voice of
passing thought* since it is more of a sentiment that Pongo. the male dog, though soothing and comforting,
grows within the viewer from the special way the busi¬ could give no emphasis or strong attitude to suggest an
ness has been animated; actually, it grows from the action that could be animated. And. to top it all off*
sensitivity of the animator who makes the drawings. It the scene was set beneath a stove, in an area so
is undoubtedly one of the most important factors in restricted that the characters could not even raise their
bringing the audience close to the characters. heads or shift position to accent the words in the dia¬
Desperation will not be displayed always through logue. How could we possibly make the audience
frantic action or panic. At times, it is numbing despair* believe the dogs were talking if we could not move
and that presents an even greater challenge to (he ani¬ them* and how could we make the sequence convinc¬
mator In tOI Datmafions, it became necessary to have ing if the animation did not hold up? It was all too
avery delicate, sincere* and convincing sequence showr- subtle and delicate.
ing the expectant female dalmatian Perdita reacting to There is always this problem with the "straight"
the news that Cruel I a deVil is planning to take all of characters who lack the flexibility in design and per¬
her puppies as soon as they are born. The storyman sonality to allow much more than a rigid illustration.
had fell that a dog s normal reaction would he to hide Thinking back on The Ugly Duckling, we recalled wist¬
somewhere in (he house* in some location that offered fully how1 that character did not have to be "straight"
a tiny sense of protection. He made a drawing of her and that his mournful honking brought laughs along
under the kitchen stove, way back in the comer. This with the tears. Now* the story material w as of a differ¬
was Pcrdita's emotional response to (he near-panic she ent sort. For this picture to be successful, there had to
felt at the thought of losing her puppies to this horrible be extremely convincing, heroic action, not from a
queen or an evil devil but from four*legged creatures get along in a difficult situation. Their roles were basi¬
with animal faces that were not designed, even by cally designed to hold the story together so that the
nature, to communicate delicate expressions, Perdita broad characters surrounding them could work, These
was not flamboyant enough to have feelings other than two characters had to be convincing for the rest of the
motherly concern, anxiety, and occasional hope, while cast to be entertaining. A stern assignment. Bat if no
Pongo was simply Mr, Average Nice Guy, trying to one believed the sincerity of the dogs’ concern, no one
would believe CrueHla And if no one took her serious- pictorial value of the hiding place, with only such
tv. she would not he it villain. The sequence had to be action as was needed to get the dogs in position. He
in the picture Finally, one animator thought he could chose an angle on the stove so that the leg visually
see a way to do it/1 Immediately, it was dumped in would separate the hiding Pcrdita From Pongo, who
his lap.
wanted to help but did not know how. The presenta-
In the first two scenes, the animator featured the
llon was simple and underplayed, letting the picture of

■ ■ k
f , v

AMMATOti Woolie Reitherman

DE5PERA [ ION. ( inderella has been locked in her room
Cinderella. so she cannot try on the glass slipper brought to the house
hy the Grand Duke. Now the (wo utter must carry the heavy
key up two flights of stairs in order to free her before (he
Grand Duke leaves.
The animator’s assignment. Get a frantic feeling offense
activity, suspense. effort, and determination in the scenes
individually and in sequence.
Ollie Johnston—101 Dal mat i ans

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1 other, has just the dog under the stove tell the story. The nest scenes gently on [he cheek. The audience believed [hem both
utj" the evil Cruet- featured Pongo’s difficulty in getting under the stove, and felt the warmth of their relationship, as well as
ilans to tak? all which forced him into interesting and different actions. their concern for whai the future might bring.
pies shortly after
The audience became more aware of his attempts to Depicting love between two cartoon characters is even
ten. The unhappy
under the kitchen get near his mate than of his mouth movements in more difficult than warmth; it is possibly the most
e her mate Pong® phrasing the dialogue. It never occurred to anyone that elusive emotion to portray. Like the sensation of
•ftifort her,
this was a restricted or subtle scene. The concern of warmth, love is built almost solely through the anima¬
infs assignment,
fmg of helpless- the dogs for each other, and for their unborn pups, was tor’s personal feelings about the drawings he is mak¬
ipprehension on alt anyone sawr. Once the camera was under the stove, ing. No one can say exactly which draw ing, or which
r do;;, hut keep it w'as possible to have a little more movement on scene, or which action has sold the idea because they
ry confined area,
Perdita since the new angle was not so restrictive. She are so subtly related; it is only the sum total of (he
'tempi to console
uf be restrained lifted her head to inhale, looked away, and sank down ingredients that creates the illusion.
r but sincere. in a defeated sigh. Pongo reached out and licked her There is one particular component in our pictures.
quietly enriching our emotional and dramatic move¬
ments, that has gone by nearly unnoticed This is the
delicate contact between our characters—the touching.
This always has been a big par! of the theater and of
tive action films, usually affecting the spectators emo¬
tionally. 1 wo [overs hold hands for the first time, or
(here is an unexpected coming together in a tense
situation—the contact breathes a special excitement.
I here must be a subconscious reason for (his response,
going back to earliest man, since i( is observed todasr
as a prime factor in the communication between chim¬
panzees in the wild/ Jt seems to be vital to the emo¬
tional stability of the individual, having more impor¬
tance than we understand. We know only that there
can be intense drama in this simple act of touching.
Actually, physical contact was at the center of mosi
of the early shorts, with kicking, biting, hitting, and
every type of violent contact imaginable the basts for
most gags. But it was not until we had the believable
characters in Snow White that anyone realized how
provocative the act of touching could be. No one could

When Merlin, the wizard in

The Sword in the Stone.
changed himself into a
squirrel, he had no idea he
would he so attractive to a
gushy, old female. This ac¬
tion wtnt beyond mere
touching.

The warm, sincere reaction

of Doe to being kissed by-
Snow White w<r,y enjoyed by
the audience w ho under¬
stood exactly how he felt.
Contact between two char¬
acters has special mean¬
ings going beyond the act
itself.
have guessed how much the audience would be moved
by mere drawings of the girl kissing the dwarfs.
A lew years later, this touching between two car¬
toon characters had a special impact far beyond any¬ animator Bill Tytla — Dumbo.
thing the story crew had imagined. The film was
Dumbo+ the story of the unfortunate baby elephant LOVE BETWEEN MOTHER AND CHILD, Timothy Mouse
lakes the forlorn Dumbo to visit his mother who is kept
with the enormous ears. When his mother had tried to chained inside a wagon. The two elephants cannot see each
defend him from the torments of a group of boys, she other and can touch only with their trunks.
had been labeled a 1,1 Mad Elephant” and chained inside The animator's assignment, Get a tender, poignant series of
scenes that show how much Dumbo and his mother miss each
the battered old wagon that served as a jail for recalci-
other, and how much even this limited contact with her
animators frank Thomas. FALLING IN LOVL. The dog of the world. Trump,
Tramp and Lady; John taken a young lady from a sheltered background to hh
Lounshery, Tany and Jew— favorite dining place behind a rest an rant. Instead of the
Lady and the Tramp. handouts he expects, the romantic proprietor and his cook
serve them the specialty of the house complete with musical
accompaniment.
The animator's assignment. Two dogs are to fall rn low
white taring a plate of spaghetti (in a refined manner\
Moke the audience believe that this really could happen.
 Without his mother. Dumbo's problems had in- in a way that said 4‘Love.” Two dogs eating spaghetti
creased, and he was soon in deep despair. His friend while being serenaded by a couple of romantic chefs
II Timothy Mouse suggested that they pay her a visit in with mandolin and accordion did not seem like the
the quiet of the night, when everyone else was asleep. most appealing situation for a romance. Besides, the
Dumbu stood on tiptoe to try to see his mother, but he comedy implicit in the whole broad story concept, the
was too small to reach up to the one window in the very thought of dogs digging, into a plate of pasta,
wagon, and she was chained so that she could not sounded unattractive and crude. Even Walt was not
come any closer to him. Only their trunks could reach sure this would not defeat the main story point here—
far enough to touch and caress. It remains one of the that the dogs were falling in love.
1 most tender sequences ever animated, yet one of the The rear of the restaurant where Tramp usually got
I most unlikely. With nothing to draw but a couple of a bone or two was not a romantic setting, but it did lit
I worm I ike trunks groping about, it would seem (hat the the realism of the dogs looking for a handout. The
animator would have been completely defeated before surprise began when Tony, the owner, saw that the
I he began, but Bill Tytla had this assignment and he second dog was a lady of class and deserved some¬
felt the emotions very strongly. His handling of Dumbo thing belter than a bone. He ordered his assistant to
tearfully hugging his mother's trunk and then gently serve them ”tbe best in the house.” complete with
swinging on it made this sequence outstanding for tablecloth and dishes Next came the music, and with it
sensitivity, delicacy, and good judgment. Every move the challenge to the animators. Could the human char¬
is so full of love and the artist’s feelings are so genuine acters convince the audience that this was a real situa¬
that nobody laughs, nobody quest ions. tion? Could the actual eating be entertaining? Could
Lady and the Tramp was another picture with a Lady be made appealing and attractive and dainty while
strange set of ingredients that had to be brought together consuming long strands of spaghetti? Lady and (he Tramp
 tion superbly, but their animation has lacked the
sincerity to give these ideas the impact they should
have on the screen They might have been intellectu¬
ally perfect—but emotionally barren.
I he animator has three very special problems in the
field of acting, and they cannot be ignored. First, he
must know what the character should tin in a particular
circumstance. Second, he must be skillful enough as a
era I tsman to capture in drawings what he knows in bis
head. Third, he must he able to return the licet ins.
delicate thought of the moment over the several days
it may take to animate the scene. When the actor on
the stage feels right about an altitude or an action. lie
does it and the moment passes. Somehow, the animator
has to stop time while he captures that elusive moment,
dissects it, recreates it, and gets it all down on paper,
The live actor does not have an easy time, but at least
he cun walk through a part, test ideas, try different
approaches, stronger attitudes, hits of business, and
make his changes all at the same time. When an ani¬
mator “walks through a scene,” it will be two weeks
before he can see a testt and when the director says,
“No-o-o, it's not working," it is much more difficult
and expensive to try the scene another way.
All of the animator's skills are brought to play in
I ramp s gift of the last meatball. animated the way creating true emotions: his knowledge of the funda¬
it was, is a charming indication of his love for her. It is mentals, ot story, character development, action analy¬
not a sure-fire message of affection, but the gentle sis, acting: this is the highest form of the art.
way he pushed it toward her and his expression as he It makes liitle difference whether the characters who
looked at her left no doubt about his feelings. This have these feelings are humans, animals, make-believe
demonstration of his love was set up by the unexpected creatures, or even inanimate objects given a personali¬
contact as they chewed (heir way to each other on a ty. In each ease, the procedures of establishing audi¬
single strand of spaghetti. The excitement of that ence identification through a special fypeot communi¬
moment demanded a reaction on his pan. It relied on cation are the same, although there is admittedly more
the build-up in the preceding scenes, and on the fact of a problem in getting people to care about an old
that the dogs believed it all themselves. This was actu¬ shoe or a garbage can. I’o get individuals concerned
ally a big evening to them and not a farce or a gag. about the emotions of a fantasy character is also some¬
Once that point was established, everything else in the what of a challenge.
nest of the picture followed naturally. If we had failed Most people have feelings of some sort about a
to make this relationship believable for the main char¬ living creature like a dog or a hear or even a mouse,
acters, none of their later actions would have had the because these animals drs possess definite personalities
ring of sincerity needed for this type of story ot then1 own. But outside of a very personal experi¬
Sincerity is the key word when conveying emotions ence or two. most people do not have the same fed
through characters that must be believable. More than ings about a hat {Johnny Fedora and Alice Bluebonnet),
one animator has had imaginative suggestions for busi¬ or a tugboat {Link Toot), or a ear {Susie, the Little
ness and actions that fit the personalities and the situa¬ Hhw Coupe). In some cases, such as the brooms in
H7k'm animator Ha rdii - (h 'tt -
njaiky left the Studio and
moved to New York. fits
Qpannicnt wituhnv looked
out on the tuftiuMits on the
East River. Almost imtrte-
tliolely fa-' found ti chantc-
ter (ike those ft*1 hint ani¬
mated. He tolled it fJttle
Toot, so/d the story to
Wait, then irrwf r^i to imiy
hook after popular hook
about the adventures of the
youthful tugimitr

,4 steam shovel entertains the special

Hilt Peel found faces and attitudes in the {torts of the object
he nvj .t drawing M'Juw he did the various cars for Susie, llie
Little Blue C?oupe. '/'he brotmi from ’'Sorcerer' ^ Appren■
u<e' in Faniasia needed neither face tun character develop¬
ment The boy amt girl in Miitsidand had faces superimposed
on their bodies with no attempt to make the design come from
the instrument itself.
 animator: Bob Wickersham
—Thru the Mirror.
A happy-go-lucky tele¬
phone answers his own
ring, then talks to himself.

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57 6/ (,3 67 (,? 7/ 77 79 8/ g2 M $7

Fantasia s “Sorcerer’s Apprentice,’’ it was important more to show its reaction to this big dog intruding in
that they be living and active, but have no feelings and such an offensive way. A face would have been wrong,
no means of communication. In others, such as the because it would have destroyed the elements of fan¬
doorknob in Alice in Wonderland, the specific person¬ tasy that made the hat so entertaining.
ality and suggestions of the friendly but unhelpful door¬ Many people insist that most of the machines in
knob were very necessary to the situation. their lives have personalities that are clearly apparent:
In many cases, the personality will be suggested by the elevator that works only when it wants to (and
the job the object normally performs. A steamboat goes particularly slow when its occupant is in a hurry);
whistle is big and authoritative. It is almost impossible the car that will not start (or seems to sulk when not
to think of a shy one. A rocking chair is matronly, or treated just right); the door that always sticks when it
gossipy, and a bench would be robust and healthy, can cause the most trouble; the typewriter that contin¬
unless it is an old, decrepit one outdoors in a park. ually reverses letters in the words—we are surrounded
Some objects have potential faces in their basic by objects that do seem to have minds of their own. To
design, as in cars, with either the headlights or a divided find the face in the design of these objects, and one
windshield being the eyes, while on others there must that expresses the feelings that we already have sensed,
be a face created and superimposed (Musicland). There is the problem for the artist. To move the parts of this
is much more charm and conviction in a character if design so that it has a suitable personality and seems
the eyes and mouth can grow out of the natural appear¬ believable is the problem of the animator.
ance, such as the telephone in Thru the Mirror, but
when this is not possible great care should be taken to
make the additions as believable as possible. Some¬ The Illusion of Life
times the character is more provocative without a face
at all, if his whole being can convey the pantomime to In the final sequence of The Rescuers, the villainess
show his attitudes. The magician’s hat that Pluto Medusa is being pulled behind the swampmobile by a
encounters in Mickey’s Grand Opera needs nothing rope. She is bouncing and splashing around as she is
dragged along and takes quite a beating. We a]J sug- ”lt depends on the hat's personality—what kind of
gcsied additional gags that would make the situation a guy he is.”
even funnier, hut the director hesitated: "l don't want L Then how do you make a hat into a believable
more gags; J want to know how she is feeling about character?"
tbs, Let's put in a dose-up of her face as she comes The same way you made a crude cartoon dog into
tip out of the water—the action is funnier if we’ve Pluto, By showing (he emotions. How else do you gel
seen what she’s thinking!” life into anything?”
This incident illustrates the drive that has run through Veteran artist Mel Shaw added a thought. “It is a
jll [he Disney films, (he way of thinking about enter¬ personal thing. You’re taking the whole personality
tainment that led to such a high degree of art in the and character and making that person believable in
animation. An interviewer asks: motion and E* motion. That's the an of animation for
“What's funny about a hat sneaking up on a dog?**

From the
has been i
emotions u
Disney du
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'a(ed Don With all of the forms of outstanding eti ten win mot
Hanoi uui-
devised by Watt Disney, the most original and unusual
eromentai
contribution is still this quality of life with which he
endowed all of his characters. From the first bashful
Mickey, hoping for a kiss from Minnie, down through
the growing fear and panic that King. Midas felt as he
realized he was going to starve to death because of his
greed, to the dramatic richness of seven bachelor min¬
ers falling in love with an innocent young girl, it has
been the characters’ emotions that have made the
Disney films great.
The animators at the Disney studio have created
many great characters over some fifty years of picture-

'S _ *
 X

making, characters that have motivated stories, brought

sequences to life, anti endeared themselves to audi¬
ences around (he world. There is something of magic
in the whole process that comes from the very act of
creativity, individually and collectively, that transcends
the single steps of production. It is more than a draw¬
ing and more than an idea, Possibly it is the love we
feel lor characters so heroic, so tender and funny and
exciting—all of them entertaining, yet each different,
each thinking hi.s own thoughts, and experiencing his
own emotions. That is what makes them so real, and
<ha« is what makes them so memorable. It is also what
gives them the astounding illusion of life.

Points to Remember
When Animating Emotions

1. Make sure the emotional state of the charaete

clearly defined.
2. The [bought process reveals the feeling, Soi
times it can be shown with a single, held dr
ing or a simple move. Other times there she
be gestures, body moves, or full action. De
mine which is best in each case,
3. Be alert to use of cutting and camera in helping
accentuate the emotion.
4. Ask yourself constantly:
What am l trying to say here?
What do I really want to show?
How do I want the audience to react?
5. Use the element of rime wisely:
to establish the emotion of the character,
to convey it to the viewers,
to let them savor the situation.
Don't be ponderous, but don’t take it away fr
them just as they start to enjoy it.

Lady and the Tramp

 is. Other Types of Animation
—and the Future
We re searching here, trying to get away from the cut and dried handling of things ad the way through—
everything—anti the only way to do it is to leave things open until we have completely explored every hit
^ it' Walt Disney

Not all the Disney films depended on the illusion of rrhe notes from the story meetings on Fantasia reveal
life for their success. Walt was interested in enter¬ the way he went about try ing to capture a new and
tainment, and that broad field included more than illusive concept.“If we don’t attempt to weave story
stories told through believable characters. I fe loved to here, it will be more enjoyable. . . , Our overall effect
see actions that moved in perfect sync with music, is the most important thing.” In the "Nutcracker
flowing or accenting or surging, wherever the sound Suite.” Walt did not want to waste footage on show¬
led. He sought beauty, not only as a background for a ing the Nutcracker and the girl watching this series of
storytelling episode but for itself, in design and colors dances (as was done in the original ballet), hut, in¬
and mood. He enjoyed making the comedies full of stead. he was Looking for something in each section
gags, and he liked to create new characterst but he interesting in itself, "it's the fairyland thing we arc
also wanted to try films where the story was sub¬ picturing.”
ordinate to the graphics, pictures without gags, with He had thought of the Chinese dance as something
just the good feeling he got out of seeing great art¬ with a group of lizards wearing flowers in the shape of
work. He told his crew at an early meeting on the coolie hats, and the Russian dance as more comic,
'Nutcracker Suite” sequence in Fantasia, k‘lt should using turtles with their heads going in and out. Several
be something beautiful and something fantastic—a of our finest artists were working on ihis and were,
will-o’-the-wisp feeling." daily, presenting ideas and drawings, everything from
It was the audiences who selected the cute, round, the characters' appearance to the whole visual com
anthropomorphic animals with rich personalities as the eept. Although Walt liked many of (heir suggestions,
type of characters they liked best. This may have there was still something missing; just handsome art¬
represented the most difficult and highest form of our work was not enough.
art, hut it was by no means the only product of either He had often said, "’When I'm interested in some¬ FACm PAGE:
(he studio or Walt’s fertile imagination. thing, L warn to see what’s going on,” and (hat ex- 101 Dalmatians
 own light follows these fairies around —all that lights
it up is the fairies.”
Then Walt began to wonder if they could represent
the seasons and group certain effects together on that
basis, "That’s where we bring in Pall and bring in
the wind and the seed pods- hut don't try to tell a
stoTy- just the three seasons, , . , Those big brown
leaves drop down and whirl around making patterns of
movement against the wind from the sky.” Rather
than a story, it was a progression of ideas lhat built to
pictures and movements, which were increasingly more
interesting.
The music was helping the idea more than anyone
realized, by giving a structure and a development of
thematic material that, in itself, carried the audience
along. Possibly lesser music would have lacked the
strength to sustain so much picture footage; certainly
when Fantasia is run without sound it sterns vague
and lacking in purpose or direction
When all the right ingredients had been found, there
was an amazingly complete unit of entertainment.
Music, design, action, and color all worked together,
reflecting a unity of thought that combined authority
pressed as well as anything his dissatisfaction with with beauty. It was not shallow or merely ""pretty." j
these early drawings. There was not enough "’going and the ideas w'ere not scattered in a hodgepodge pre¬
on.” There was not enough of an idea, yet, for a sentation. It was exciting.
picture k> he started. Even more adventurous was the visual interpretation
Then, one day he saw a drawing of a mushroom that of Bach 's "Toccata and Fugue,” which had no repre¬
timer Plummer had made. Walt immediately saw a sentation of real forms, only colors and shapes and
potential that far surpassed anything that could have movement that matched the feeling of the music. Walt
been done w ith (he hoards. He started talking of how a had stated. "‘We don’t want to follow what anyone
mushroom even looked Chinese, how u could do a else has done in the abstract. We have never dealt in
certain type of dance, and soon he had added another the abstract: wc have given things a reason for existing,
mushroom who was always out of step and causing and tried to convince the audience that it could hap¬
trouble for the whole group. This did not happen in a pen, or was possible,”1 Now he had to fed his own
day. or all in one meeting, hut it did become a solid, way into this new area and find pictures dial would do
unified idea that even without a story would hold any¬ more than just dazzle or stimulate; they would have to j
one’s interest. Walt said, . . people will remem¬ reach an audience and hold its interest.
ber it—every time they look at a mushroom after that As all the parts began to relate, Walt became more I
they'll try to see those Chinese.” enthusiastic over the possibilities ui these experimen¬
At the same Lime, he was developing his thoughts tal ideas, which were far ahead of anyone's thinking j
on the other dances, searching for ideas that matched The artists had created startling new visual effects, the
the music. He liked the tiny fairies moving from plant technicians were putting things on film ihat scarcely
to plant making everything sparkle and glisten as they could be believed, the music tracks were exciting, and
waved their wands: first the dew-drop fairies “make Funtasound. the new sound system developed especially
the spider wreb took like it's made of pearls—their for this show, was a whole experience in itself. Wall
 was fascinated: "... it we cart gel what we're after others. Snow White was dune with soft watercut or
here, on the screen, with that music put over the way washes so reminiscent of old book illustrations; Alice
we can pul it over—1 believe it's going to knock every¬ in Wonderland combined a more modern design with
body out: they just won't believe it It's an entirely unique color combinations, to make it look slightly
new field opened up for our medium/* weird and zany; Lady and the Tramp wras made of
Bat fantasia had no chance to knock everybody nostalgia, like an old postcard, with bright, sunny col¬
mi. Even though it ran for a record-breaking fifty-one ors and soft edges. 101 Dalmatians used a strong
weeks in New York, and thirty-nine in Los Angeles, linear treatment, with flat swatches of color in the
the special sound equipment required limited it to only backgrounds to match the handling of the characters.
a few theaters across the country, and most of the For Sleeping Beauty, the opposite was tried; the
regular theater patrons had no opportunity to see it. design of the characters was altered to lit the overall
The opening, late in 1940, coincided with the escala¬ design of the backgrounds. Stylist Eyvind Earle had
tion ot the war in Europe. Growing tension in this dune the inspirational sketches that caught Wall’s eye,
country, along with the studio’s losing its foreign mar¬ and now the sparkling results that came from the flat
kets, made it impossible to expand the production ideas colors used in two-dimensional patterns was calling
Walt was so eager to try. Fantasia #2. which was lor a new type of drawing in the animation Even
well past the planning stage, was abandoned, and the though four and five hours were required to make
two segments already in work, * Clair de Lune" and some of the drawings, the end resuit was a gorgeous
Peter and (he Wolf/’ were reworked and used in tapestry of colors and pleasing shapes—cold and pon¬
later pictures. 'Hiis was a disappointment to Wall and derous, but startling. The pageantry of the Middle
to the staff o! ! 200 employees, all of whom had been Ages was captured with a magnificence that never will
excited about the intriguing future of animation. We be duplicated again in this form; and when viewed on ■WAIT.Martin Provt
still wonder what we would be working on today if Peler and the Wolf
the wide screen required by the 70mm film used for
Fantasia had been as popular as White this one production, it is extremely impressive. First suggestions foi
Fantasia had given our artists the best opportunity faffs musical star
I o make the most effective use of (his visual mate¬
strung feetirtg of /
to use both their imaginations and different kinds of rial, story man hd Renner worked out an involved see- folk art.
graphics, hut even more was attempted over the next
ten years. The showcase for most of this experimenta¬
tion was the 'package pictures/’ The Three Cabal
leros. Make MI tie Music, and Melody Time* which
combined several delightful themes into one feature
film, like a variety show. They gave (he staff a chance
to try out intriguing ideas that were not strong enough
to sustain more than ten or fifteen minutes. Many of
these ideas introduced a new style of drawing and de¬
sign that was an important part of the whole concept.
Choosing the style for a picture follows the same
guidelines as choosing the design of the characters.
The style must emphasize the elements that tell the
story best, create the moods, and establish the degree
ul sincerity for the complete idea. A somber topic will
he handled quite differently from a frivolous one, in all
graphic aspects, and the choice of what is best for the
subject matter is one that must be considered carefully.
Walt wanted each of our features to have an indi¬
vidual style that would be different from any of the
 mirio [hat relied not so much on character identification
as a busy sequence of events that romped along with
good pacing and surprising twists. The story, being
highly romantic, called for warmth and humor and
dramatic moments more than austere design, and un¬
questionably we surrendered some audience involve¬
ment to this strong style. Still, we have not made a
comparable feature with so much beauty in both appear¬
ance and color and such consistent treatment from
shirt to finish—which was just what Walt wanted for
the picture.
Card ui attention always should be given to the value
of the graphics in any film, for the whole product
rapidly can become barren and dull and earth bound
without some excellence in drawing, design, and color,
fhis is easy to forget under (he pressure to pul a story
on the screen that will live and build and captivate.
(iood design, in itself, will make the drawings clearer
and the ideas behind [hem easier to see and under¬
stand; !he style will strengthen the communication,
because it has been chosen, in the first place, as the
best way of presenting the idea, ft is a difficult point to
put into words, since it is made up of taste and judg¬
ment and talent and sensitivity. While the audiences
cnay not seem to notice, they sense the difference, and
they are drawn to (he object with the better design. It
is one of the differences between Disneyland and the
average amusement park.
Walt's search for the solid, unified idea that made
the graphics hold an audience is probably the closest
we can get to an explanation of what constitutes suc¬
cessful visual communication. Today, most j>eople refer
AitTFST. Richmond (Dick) Keisey— Trees.
to [hat kind ot an idea as ‘story. Bruno Bozzetto,
the Italian animator, designer, anti producer, stressed good work so memorable. All of [he elements being
this on a visit to the studio. "The first thing is always presented—story, character, animation, color, music,
the story—not a drawing or a background—hut a story design—must contribute to the one statement, the over¬
I want to tel!. I’hen I choose the medium/* He went all concept.
on to emphasize the importance of making that story
as strong and as rich as possible. “Disney was a fan¬ -a
tastic storyteller.” he said, "There’s never a moment Still Pictures and
in his films in which you relax; the story is always Limited Animation
moving.”
Whatever the idea, it will be told belter and in a A picture that has no movement will go “deaif' cinik
more interesting way with a style that is supportive screen in only a tew seconds, no matter how compel¬
and compatible. Like a good caricature, it will help to ling its elements. Moving the camera about will help,
achieve the essence of a particular idea that makes but only two factors really can keep the footage
 Mexico, made an appealing sound track that supported
the fine artwork.
Joyce Kilmer's poem Trees set to music by Oscar
Rashach provided the sound track for a Him with no
animation that made extensive use of camera move¬
ment, gently probing and searching, moving in and
out and examining the details of paintings, Dick Kelsey,
stylist and painter, had a remarkable talent for drawing
trees that had strength and beauty and a unique design,
combined with a color sense that was extremely per¬
sonal and exciting. The sound track (in Melody Time)
offered little variety in either mood or tempo, so the
camera moves were restricted in the textures that might
otherwise have been more interesting, hut this is still
an excellent example of what can be done with only
still paintings and imagination.
The titles for The Rescuers were done in much the
same way, using Mel Shaw's pastel renderings as illus¬
trations of the journey of a lonely bottle, from the
swamps along the Gulf of Mexico to New York har¬
bor. It was felt that full animation of this subject mat¬
ter would not be as effective as the glowing colors and
rich detail in the pastels. The orchestral treatment of
(he song, "The Journey," allowed a greater variety of
camera moves here, some even suggesting movement
in Mel's superb drawings.
Baby Weems," a short film from The Reluctant
Dragon (1941), was presented the way a sloryman
might tell his narrative from the sketches on the story¬
boards Since it was made up of separate sketches,
there was neither reason nor justification for any move¬
ment. Still, to make the picture clear and more inter¬
esting, limited movements were added here and there,
“alive": a story idea that moves the audience, or a just an arm, or a leg. or a simulated walk, or perhaps a
Sound track that has meaning of its own. moving jaw during dialogue. It was effective, econom¬
If Walt saw a sketch or painting that he particularly ical, and soon picked up by other studios searching for
iked, he would look for a way to get it on the screen a cheaper way to fill the Saturday morning TV de¬
usi the way it was, and then figure out how to keep it mands. It became known as "limited animation
here long enough for (he audience to enjoy it, too.
In The Three Cahaiteros, Mary Blair’s charming
xiiniings of the Mexican children acting out Las Posa- Animated Designs
las had only the movement of the flames on the can-
lies, but they held the audience’s interest because they Most of the scenes of "The Nutcracker Suite" in Farr-
llustrated a story, hi another place in the same picture, tasia had little more than the animation of designed
norc of Mary’s paintings were used with no story or shapes of (lowers and frost and snowflakes, or the
:onlinuity; however, a song, telling of the wonders of changing light in this .special wonderland as a fairy
darted by. Even these fully animated characters were motifs, and, in some cases, Donald Duck was intro¬
subordinated to the pictorial effects of the scenes, yet duced working through the evolving pattern's. While
(his was enough to sustain nearly fifteen minutes of he added little to the artistic merit of the sequence, he
film, brought the audience into the film in a way that the
'Toccata and Fugue/' also from Fantasia, probed geometric designs never could have by themselves.
in another direction, combining abstract designs and An intriguing idea that never reached completion
undefined shapes with pure music. Once again, ton was Salvador Dal i \s v isual i zat ion o f a song. 11 Desi i no,' *
quality effects animation was needed to match the mood written by Armando Dominquez. Working with John
ot the track, in both sync and feeling. All of the tech¬ Hunch, Dali had put together a whole storyboard of
nical advancements were called upon to create visual (he surrealistic drawings that had made him famous,
images that carried the same depth and power as the but, unfortunately, the project was cancelled with only
music. / he I hree Caballeros contained more experi¬ one scene ever put on film, As a short interlude in the
mentation with the animation of designs, hut due to teature film it would have been provocative, whether
budget restrictions during the war it is less pretentious people followed the ideas or understood any of it or
though just as imaginative and revolutionary, with more not. Dali and Walt got along very well, but the picture
emphasis on the changing of shapes as they animated. was not becoming quite what either of them had hoped
Because of the Mexican background in this part of the when they started, so it was abandoned, by mutual
lilrn. the designs were based on Mexican and Indian agreement.
Probably the most charming of the films that were
ARTfST: J. Gordon l
essentially the animation of design elements was found
' 'Toccata and Fug
in the introduction to l'Baia" in The Three Cabalte- Fantasia.

AftnsT: Cornell Wei

“Toccata and Fugi
Fantasia.

ARTisr Salvador Da
Destine.
 Strong Design
With Animated Characters
Usually the animator must give up his best tools of
communication if he limits his drawing to the restric¬
tions of a strong design, hut in ‘"Once Upon a Winter¬
time,” in [he feature Melody Time, trie Larson, work¬
ing with director Ham Luske, animated Mary Blair's
stylized ideas with great success. He bordered on lim¬
ited animation where he could, moving the whole char¬
acter stiffly, hut timed it so convincingly that everything
ros. Mary Blair had made a dazzling sketch of the worked, It was impossible ever to become really con¬
Brazilian jungle with a tiny, colorful train jogging cerned or involved with either the characters or the
along to a samba beat, lx*s Clark animated the train, story, but it was entertaining and delightful, and showed
keeping the drawing so that it matched perfectly to that designs could he animated successfully when the
Mary's overall picture. There were no demands on the whole idea was properly unified. There was a nostal¬
animation, other than to keep the design elements in gic song setting the mood, and a simple story that
the movements, while the little locomotive chugged called for a quaint, unreal quality, so the special kind
along the track to the station at the end of the line. It of animation fit in perfectly, without losing life or
met several problems along the way, which kept the warmth or the needed communication,
idea alive and added interest to the progression through Melody Time offered another venture into pure design
the jungle, hut the outstanding design in the original animation, with a popular rendition of “Flight of the
concept contributed the most to making the sequence Bumble Bee” done in Boogie Woogie rhythm. Called
memorable. “Bumble Boogie,” it featured musical symbols mov

styust.- Mary Blair.

animator Trie Larson —
"Once Upon a Winter¬
time, ’" M e lod y Ti me.
I**-'!
 amma tors. Characters.
Fred Moore, Fains brush.
Josh Meador—
“Aquarela do Brasil.
Saludos Amigos.

animator.I-'red Moore—
"All she Cals Join hj,
Make Mine Music,

ing in a wild turmoil to match the excitement of the one magic brush filled with watercolor, or the brush
score. There was little story, other than the plight of actually could paint each detail while you watched. It
the bee trying to escape this mad world of sharps and wfas always surprising and often exciting.
flats and staff signs and notes all dashing about in a Imaginative use of this technique was combined with
dizzy abstraction, an extremely simple style of drawing in “All the Cats
A particularly fascinating device was to paint or loin In." done for Make Mine Masse. The story line
draw the pictures as needed, just ahead of the action—-a wras simply that a group of teenagers got together at
sort of "Draw as you go." Sometimes the main char¬ the local drugstore to dance to the juke box, but with
acter would be in the scene, progressing down the Fred Moore's animation it set a style that has influ¬
street, or climbing stairs, or viewing the scenery, with enced other Filmmakers ever since. The clean, simple
ail of this background material being added just at the design of the characters, the appeal of the drawings,
last moment. At other times, the entire screen would the strong outline, the directness of approach combined
be empty, and a brush would paint the picture as you with the sync to (he music and the crispness of the
watched. The whole scene could be floated on from timing were worth copying.
 i.\ tMA 1 ok IV tird Kfmbaft
Victory Through Air
Power,

the role, it is unique to that one particular show. Art

Styled Animation Stevens concluded with this thought: "The characters
Ward Kimball found an excel lent medium for his brand in Toot, Whistle , , , aren’t flesh and blood. They
of humor in the styled animation of Toot, Whistle. move in a more abstract way—but you aren't saying
Plunk, and jEtoowand the later TV specials he directed that one isn’t as entertaining as the other,"
about man and his varied activities in space. The term Victory Through Air Power began with a short his¬
"styled” means that the whole idea has been conceived tory of aviation done in an engaging style created by
with a dominant design that will influence both the T. Hce. By removing the realism of aerial warfare, he
appearance and the action of the characters. removed the horror and was able to bring about a
Not everyone can adapt his work to this kind of humorous treatment of the subject. When the design is
thinking. Art Stevens, key animator on these films, this dominant, limited animation w ill support it better
said, "Give some guys a styled character and they than other types of styled animation. As is often the
don’t know how to move it—yon can t make it move case in these films the basic humor is in the drawing
realistically, " If the story concept is realistic, then the itself, and the animator must he careful that his addi¬
animation must he realistic, too. But if it is a styled tions do not weaken the communication already there.
concept, then the character must move in a special
way that is compatible with that style. The two do not
seem to mix. Imagination Unlimited
This type of animation is only illustrating rather
than sustaining the story, so you are free to engage in a Man and the Moon, directed by Ward Kimball, fea¬
completely different form of caricature. Both Art and tured a simulated flight to the moon long before NASA
Julius Svendsen became adept at animating movements was sure anyone really would he going there. Sets
that fit this type of design, were built and costumes created, but for the rockets
The chief reason lor selecting a strongly designed and the big events, only drawings could give the illu¬
style is to use a stronger type of caricature, which is sion. and to be convincing they had to be very special,
particularly well suited to satire and commentary on Ken O'Connor, a top layout man, was given the
the world we live in. These characters arc created to assignment. His experiences with background, color,
do a different type of job and arc not interchangeable and the labs, dating back through Snow White. made
with those from other styles of animation, The cavemen him well suited for this exacting job. With technical
in Tootf Whistle . . . could never play the role of the assistance from rocket expert Wernher von Braun, the
puppeteer in Pinocchb. and Stromholi would he just whole procedure from launch to circling the moon was
as wrong plucking a harp string or blowing on a raspy so well conceived that when the actual flight was made
reed. The design of each was determined by the needs more than twelve years later, many of the details were
of the story and developed through the requirements of just as they had been shown in the film.
 Noah's Ark, released in 1959. was made by Bill
Justice and Xavier Atencio and featured the astounding
caricatures of animals done by T. Nee. Bill did (he
stop motion work under the camera, moving the tittle
figures in special ways, and T. created a whole jungle
of improbable animals from the simple items found in
any variety store.
Bill Justice teamed up with X. Atencio again, to
design, construct, and move (he colored paper charac¬
ters used in several TV shows. Movement by stop
motion has been a favorite of filmmakers for many
years, because it saves the time of making extra draw¬
ings and I ally utilizes the appeal of one good-looking
design. Jhere is a fascination to the movement when
the viewer can recognize and identify the elements
being used, whether they are made of paper, sand,
nuts, or whatever
I he thiec films about lVfwuV ihc P(toh made con¬
stant reference to the book from which the episodes
were animated, and, to keep (his idea alive, shots of
the book itself and the printed letters on the page were
used repeatedly. When the wind was blowing in Bhts
tery Day. it blew the type right off the page When the
Hood came later, the water dissolved the type and
washed it away. Often the scenes were designed as s'nijiVti A.xn layout

Pm O'Connor—
illustrations in the book, and the figures moved about
Man in Spare and Mai
within those limitations, or hopped across the page to the Moon.
a new location. It was only an inventive device, but it
til fhe mood of the lilms, keeping some of the whimsy
of the original stories.
Winnie the Pooh
 Children of
ARTISTS:
schools in Inverness—
The Lt>eh Ness Monster, [>

aiw.st.- Mel Show—

The Black Cauldron.
Everyone has looked into
the top of the whirlpool. hut
what does the bottom look
like ? I h is one is the secret
entrance to on under¬
ground world, and Mel's
drawing makes it ail seem
very plausible

Aim ST: Mary Blair—

Alice in Wonderland.
Mary's drawings had a spe¬
cial appeal for Walt. Here >
she shows her unique ap¬
proach to the introduction
of the famed Tut gey Woods,
Who else would have con¬
ceived of the entrance to a
forest as a doorway? Such
drawings opened up our
thinking and started a more
imaginative approach to
our own work.

Before the days of space

exploration, our artists
wondered what we might
find on other planets.
(Al top and below.)
 artist. Tvnts Wong— artist Kay Nielsen—
Bambi, ‘Ave Maria.” Fantasia.
"O’'s delicate pastel of Kay Nielsen i«k not at the
frightened quail hiding in Studio long enough to influ¬
the grass plays on the view¬ ence many pictures. but he
er'a imagination by not had a profound effect on
showing him everything- - the design of both the ”Ave
just enough for him to sense Maria” and ' 'Night on
the mood and the feeling of Bald Mountain' sequences
the forest creatures, in Fantasia. The glow of
the candles carried by the
hooded figures proved to be
an impossible problem in
production, but the glory
of this concept for the scene
made everyone keep trying.

When a him was being made about (he Loch Ness

monster, school children w ere asked to draw their ideas
of how "Nessie” should look. These delightful draw¬
ings were incorporated into ihe style of one section
ol the film, with certain of the drawings going into
movement. Considerable inventiveness was needed to ( hey could fall 2000 feet, he electrocuted, blown up,
animate suggestions from the schoolroom, but it made cut into sections, burned, flattened, drowned, even
a charming hh of entertainment. frozen in a cake of ice, yet be right back in fighting
shape in a matter of seconds. The only thing thal could
not be destroyed was the personality.
Strong Personalities with a In How To Ride A Horse, (he first of the long series
Different Type of Life of pseudo-instructional films starring Goofy, a formal
was established (hat opened another door fur the ani¬
While Mickey Mouse was giving up his formerly pre¬ mators. Any device (hat a teacher might use to demon¬
posterous unties to become more of a human hero, his strate a point was used with Goofy as (he subject. He
puls Donald and Goofy were developing a wilder, was drawn as a chart in white tines, used as a diagram,
broader type of comedy, where the incident was more shown in simulated slow motion, run backward and
believable than the character. Both types of animation forward, and through it all he could still react to what
relied primarily on personality, but where Mickey was being done/
supported his sincerity with believable actions his Even the role of the narrator' was caricatured to be
buddies engaged in the most improbable activities. an integral part of the comedy. He would speak about
 ammator Howard Swiff

The Pink Elephants— Dumbo.

Goofy, commenting on his actions (“You will notice
that the subject raises his leg high . . .") or correcting
his performance (“No, no, not that way!' ) or thought¬
lessly leaving him in an awkward predicament while
expounding the philosophy of the whole subject. This
idea of putting the star of the picture through such
rigorous treatment led to the development of new tech¬
niques in the use of held drawings, limited animation,
and limited life, unified only by Goofy’s indomitable
personality. The films were highly entertaining and,
since they had practically no story* relied on strong
gags, clear staging, brisk timing, surprising actions,
and u fast tempo.
All manner of camera tricks were used to heighten
the effects. When the first combat film footage came
back from the war zones in the early forties, it revealed
that the camera itself was jarred by the force of nearby
explosions. Practically the next day, the cartoon cam¬
era would be jarred when Goofy walked into a wall
(actually, the jar was simulated by moving the pegs
back and forth a brief moment). Vibration gags and
animated effects had been used for several years, but
the crew was looking for new tricks [hat would give
more impact. When the Goof hit that wall, they wanted
the audience to feel ill It was not necessary that any¬
one believe in the character as a sincere entity, only
that the beating he took was real.
The Pink Elephants sequence in Dumbo called for
much inventiveness from the animators. No matter
how peculiar or impossible the picture on the screen, it
had to move convincingly and in keeping with the
whole weird dream the little elephant was having.
Instead of moving the characters in terms of a believa¬
ble personality, the emphasis was pul on the anima¬
tor’s ability to surprise the audience with actions that
are completely beyond anyone’s experience.
Ward Kimball was a master of this type of inven¬
tion. astounding the industry, first, with his handling
of the title song from The Three Caballeros, and con¬
tinuing that special type of madness through “Pecos
Bill” m Melody Time. Ward had a way of disregarding
logic when it suited him and of getting right to the
heart of the matter. He was caricaturing the whole idea
of his sequence, not just the action or the character,
which enabled him to make a very direct and pure
statement of what he considered funny. His scenes
spawned a whole wave of preposterous actions and
brittle timing throughout the industry.
The Brazilians have a bird that is considered com¬
pletely crazy and apt to do just about anything—the
Aracuan bird. To animate him was a special challenge
to Eric Larson, for if the bird will do anything what is
left for the artist to contribute or caricature? Eric found
a way that was light and zany and so unexpected that
Walt later bad a whole short built around the eliarac-
ter. Clown of the Jungle. Part of the craziness was the
fact that the bird did not even follow the rules of
picture making, defying perspective, cutting, and scene
planning. He would walk anywhere, around the frame
borders, in and out of scenes—all the things that nor¬
mally confuse an audience—hut Eric set this up so
adroitly that the audiences merely gasped, and laughed,
They probably wrould not have been surprised if the
Aracuan bird had walked right out of the screen anil
into the theater beside them. It was a singularly inven¬
tive use of full personality animation.

Combination Live Action

and Cartoon
Wall always had felt there was a special fascination in
combining live action with the cartoon, as he had done
in his very first shorts back in 1923 with the Alice
pictures. Together, the two mediums create a different
kind of fantasy with a potential far beyond what any¬
one has done. New restrictions are placed on all the
participants, because they are not simply adding another
dimension to the familiar product; they are now work¬
ing in what is actually a third medium. It must be
planned more carefully, conceived with even more
imagination, and budgeted realistically, but the results
can be pure magic.
In The Three Caballeros, there was an elaborate
display of talents and technical proficiency in the sec¬
tion titled "Baja." The Brazilian singer and entertainer
Aurora Miranda, with a chorus of musicians and danc¬
ers, worked on a stage set that combined animated
buildings with real streets, drawn props with real struc¬
tures, painted illusions with reality. It worked particu¬
larly well because the "real” parts were only theatrical
sets in the first place, and had been designed with flat
surfaces and simple shapes so (hey would match (he
Mary,
ARTtsr
drawings that had to he part of the whole composition.
“Baia"
Working in anti out of this maze of actors and props The Three D
and backgrounds was Donald Duck, w ith his newfound
friend Jose Carioca. In some cases the animation was
done first, and the live actors had to react to the timing
and action set by the cartoon characters. In other scenes,
Aurora and her companions were photographed first
and (he animators had to match (heir drawings to the
live characters. In the first case, the animation was
projected onto the hack of a translucent screen, which
became the background behind the actors. In the sec¬
ond, (he artists matched (heir drawings to photostats of
the actors, and (he two pieces of film were combined
later in the optical printer.
In cither case, it is difficult to know how the final
pieces will all lit together and to judge how anyone
should act (whether human or cartoon) in any particu¬
lar scene, since half the scene is still in (he creative
minds of many other people. The audiences are never
aware of the problems or difficulties, or the discus¬
sions that have brought this all to a magical conclu¬
sion, for it il has been done well they are enthralled,
believing that somehow , all of it is real and happening
right before their eyes.
ilt Kahl— Song of the South, produced in 1946, kept the car- to ' play’ took precedence over planning for the total
South toon segments separate and complete for the most part, effect of the scene in its eventual form. The live action
ank Thomas— but integrated them so well with the few connecting director had his hands lull just staging the action prop¬
ns scenes and careful story work that the result was one erly and getting the characters to come to life. The
of the studio’s most successful. It was also one of the idea of making any allowances for some little draw¬
favorite films of the animators who worked on the ings that would be added later was the Iasi thing he
sequences, for it combined broad characters with strong wanted to hear about.
situations, in a setting that was pure fantasy. Part of In fact. Wall encouraged this attitude by telling the
this came from bill Peel’s excellent story work in director; "Don’t worry about what (he animators are
adapting the Joel Chandler Harris classics about Uncle going to do; just make your own stuff as good as you
Remus, part of it was the design of the characters, can. because those guys will top you!" As a result,
which offered maximum communication tools to the there was never enough room in the scene for four
artists, and a very large part was the marvelous voice penguins, the camera was never at the right angle to
tracks, contributed primarily by the wonderful, multi¬ show them off to the best advantage, and the action
talented James Basket!. The fact that all of the action was never staged so they would fit into the picture.
actually was taking place inside a young boy's mind, Nor was there ever the right amount of time left to do
as he was being told the story, added an extra touch of everything called for in the script. Penguins have very
life to the whole concept. short legs and cannot fly, so it is almost impossible for
Mary Poppins, produced eighteen years later, in them to keep up with a long-legged dancer like Dick
1964, once again placed the live actors in a cartoon Van Dyke; putting four of them in each scene really
world, combining backgrounds that were partly real compounded the problem.
and partly drawn, with story situations that put all the Of course, Walt knew exactly what would happen.
actors together. No rear projection was used this time, The animator would fuss and complain and call a few
however, so all the humans were photographed before names, but in the end he would become more inven¬
any animation was begun. Since no one was a second¬ tive and more entertaining than he would have been if
ary character, the normal problems of getting a scene everything had been made easy for him. No animator
 ever would buck away from such a challenge. He might the problem facing the animator, or the layout man, or
scream and rave a bit, hut he never would give up and the color consultant, or the background painter. All of
admit defeat! And Wall knew that, too. these people must search for a way to produce a series
While there might have been more invention in doing of drawings on the screen that will match in weight,
(he scene Walt's way, a better result overall will be texture, shading, color, and perspective the live char¬
obtained if the animator and the live action crew' can acters who are sharing the bit of film with them.
cooperate. Without advance planning the animator is The color almost always comes out too bright, too
apt to he left with long continuity scenes to animate Hat, too intense, even if the live background has been
simply because it was comfortable cutting for the live painted in gaudy colors and lit with a very flat lighting
action, lie is faced with the awkward job of trying to to bum out all shadows. In addition, there is texture to
stretch his action, keep his characters alive, and invent almost every thing in the real world, and the flat, shiny
appropriate bits of useless business, just to fill out the paint on the sheet of celluloid never quite fits in.
footage given to him. I here was a scene in Song of the South (hat showed
In the animation itself, there arc many new prob¬ Uncle Remus fishing beside an old bullfrog, and, for a
lems that arise when the drawings are seen, side by brief moment, everything was perfect in the matching
side, with a real person on film. The cel animation of the two mediums. The frog was small, bul with
always looks flat and sha|>eless by comparison. It is enough detail so that texture was not a problem, the
not economically practical to make the perspective perspective of the drawing was identical to that of the
absolutely accurate in both drawing and action, and it live background, and the choice of color wras just right
is completely impossible to match the lighting on the for everything else. The whole crew had worked just
live action figure If a broad action is used on the as hard on each scene in the sequence, but fortune
cartoon character, it will seem out of place and un¬ smiled on their efforts a little more warmly on this one
natural. while a more subdued version may go by scene, and it always has been held up as the example
almost unnoticed. The characters come from different of w/hal is possible in combination footage.
worlds, and need special consideration to make them
compatible.
Worst of all. there will be a lack of weight, no
Educational Films
mailer how carefully the action is timed. The subtleties During the second World War, the studio had used its
of the human form in movement cannot be matched, animation skills to make training films, educational
and the caricatured actions that seem so real when films, scientific films, and health films for various
viewed in an animated film rapidly lose credibility government agencies. W hen peace returned. Wall con¬
alongside the real thing. Such handicaps rather easily tinued to probe into other uses of the medium, even
can he overcome or minimized by careful organization having a special unit make commercials for I he emerg¬
ol the material—so that the audience Ls attention is led ing TV market, and industrial films for a few corpo¬
ott into other areas. However, rather than waste the rations. Qt all these, only the edueationals became an
skill and lalenl of good animators in doing this, the important division of the company.
money is better spent planning just how each thing Animation is particularly well suited for teaching,
should be presented. because of its ability to get inside the mind of the
Technically, there are a number of ways of combin¬ viewer, as well as inside any object or subjeel it is
ing the live actors with their cartoon counterparts, and covering. Whether it is a philosophic concept, a natu¬
the choice depends on the result desired. Essentially, ral phenomenon, or a complex machine, animation
what is needed is two sections of film, each with its own can make it all come dive in the viewer’s imagination.
separate image, but so arranged that the two pieces fit The series of weather films (hat explained the anatomy
together precisely. If you have that, the wizardry of of clouds and storms to Navy pilots showed the pow¬
the process lab can combine the two into one impec¬ er! ul elements that scientists knew1 were there, which
cable prim. Fortunately, that technical aspect is not no one ever will see.
 In a series of films on behavioral alternatives, and eyes that blinked and a mouth that talked and lips that
again in The Story of Menstruation, use was made of formed letters. These were impressive additions to the
animation's competence in handling highly personal workshop, and an intriguing hobby for a creative man,
subjects in a very impersonal way. The use of real A head of Abraham Lincoln was built with eyes that
people in either of these sensitive subjects would have moved, and teeth behind the lips, and suddenly Walt
had the “kids reacting to other kids" as actors, whereas was talking about building a whole figure (hat would
drawing the figures allowed the audience to see only walk up and down and duplicate the famous gestures
the idea that was being presented. of our sixteenth president and sit in a chair and be
Wall shied away from trying to tell too much in a just like the man himself. Technical and mechanical
film, saying, “We are not trying to lecture and let problems forced him to curtail some of these ideas,
them think we know a lot and have discovered some¬ but to everyone’s amazement he did construct a rep¬
thing—itTs all in a light mood.’1 This philosophy kept lica of Lincoln that has awed millions of people in
him from the usual pitfalls found in educational films, repeated performances. That was only [he beginning.
of merely illustrating a dull lecture, or using only dia¬ Showr after show was built around the improved fig¬
grams to explain the point. Donald in Mathmagie Land ure. now dubbed Audio-Animatronics, to fill the
had begun as an attempt to explain arithmetic to the ncy theme parks and amaze the crowds.
beginner, but it changed to a more general introduction The early experiments had been programmed by the
and orientation, which would remove any concern or technicians who knew how to make a figure perform,
worry about (he subject while arousing curiosity and but they lacked the knowledge of what it should do to
creating a base tor future understanding, Educators be entertaining. For this, Walt took the men from his
have acclaimed it as one of the most successful films animation staff, wrho could adapt their experience wilh
on the subject.
drawings to this startling new medium. These mecha¬
The field of educational films has an almost unlirn- nisms moved in a completely different way, but the
ited future with very little of its potential explored. same principles of communicating with an audience
did apply, and the highly specialized training these
Audio-Animatronics men had received on the cartoons made them uniquely
suited for this assignment.
One last use of the animation principles to achieve Marc Davis had the rare ability to make draw ings of
communication and entertainment might be mentioned, characters in situations that captured a living predica¬
even though it went far beyond just the drawings. ment and stimulated endless ideas of whal might hap*
Walt always had been fascinated with mechanical pen next. He could capture a moment in time, just
devices and enjoyed doing fine model work himself, when a relationship of characters was reaching a peak,
so it was only natural that his interest would be aroused and present it in a clear and appealing way. This talent
by the automated whistling bird he saw in Europe in had given the start to many great story sequences in
1948. He bought it immediately and brought it .back to the past, so he was an obvious choice for this new
bis machine shop at the studio, giving it to Roger medium.
Broggie, the talented head of the shop. Roger had a As Marc summed up his assignment, “We actually
way of making things work, no matter what they were try to create a situation and make it believable. I'm
or what they were supposed to do, and he had grown working in a Held with tremendous limitations on what
accustomed to Walt’s requests not only for the impos¬ you can do with action, so the whole thing hinges on a
sible but the unthinkable Now. Walt asked him to tear picture, and it has to be the moment when things hap¬
apart the little bird and find out how it worked pen. Otherwise, you don’t have anything," Walt called
Before long, other engineers were adapting the prin¬ Marc's drawing a “story-telling tableau," which is
ciples Roger uncovered to other mechanical figures: really just another way of describing a good story
old Granny Kincaid in her rocking chair, a soft shoe sketch.
dancer, a barbershop quartet, a Chinese head with When the initial drawings for the animatremic fig-
 tines were approved* a sculptor was needed to carry would wrork tor a w-hole line of dialogues lor even
these plans Into three-dimensional form* and w ho would though the figure would move, it could not change its
be better tor this than a sculptor with a background in attitude extensively. Wall told him. “A good cartoon
animation11 I he man selected was Blaine Gibson, can tell its story without the line of dialogue, and a
whose hobby was sculpture and who already had won figure with the right expression and attitude requires
several prizes. little animation to tell its story," It seemed that Walt
Blaine was puzzled about designing one shape that had been telling his staff that same thing for many
yearss and it was still the right advice.
C laude Coats was moved from doing inspirational
sketches, color keys, and painting backgrounds to help¬
ing design the areas where the animatron]c figures
would be working. He compared the new problems to
the backgrounds he had painted; "Before the time of
The Old MilL the backgrounds had been washed out,
flat. . . , Now there was a kind of space for the
character to act in, not quite reality but believable
space. We're still doing that on these rides; we con¬
sider the space the people move through," He went on
to say that today the public is so used to seeing things
on a I V screen that when suddenly they are thrust into
a designed area that totally surrounds them and become
participants in a space, they are overwhelmed.
If planning, actions and designing figures were famil¬
iar jobs to the men from animation, they were in for a
shock when they began constructing these figures. Plas¬
tic skin had to be created that would survive almost
continuous stretching and pulling, and eyebrows and
beards had to be built up by inserting one hair at a
time. At least the eyes were something that could be
bought outright* since the manufacture of glass eyes
had long achieved very high standards.
The studio wrote to American Optical Company in
Boston, requesting a catalogue and some samples.
Roger Broggie tells what happened. "We received a
case of some 70 different eyes, which w as the method
used by ophthalmologists to match a patient's eye for
color. Blaine Gibson selected eyes from these sam¬
ples* but when we ordered 37 pairs of artificial eyes,
we received several phone calls from Boston asking if
we were really serious." It seems that no one ever had
asked tor a pair of eyes before, since the whole point
wras to match the patient's good eye.
They ran into more trouble when they asked for
heavy veining in several sets of eyes. As Roger ex¬
plained, "This was for the Pirate Ride, and Marc and
MTiST Marc Davis— /Jisacytand Park. Blaine wanted bloodshot eyes in the drunken pirates."
 The manufacturers eventually understood what was some reason, those things project—they actually do a
behind the strange requests and produced a new line to better job—there’s something super human about
the studio’s specifications. Roger concluded, +lWe be¬ them." Like the cartoons, they touched that special
came American Optical Company's largest customer. “ world of magic that was the real secret at Disney's.
t Claude Coals—
cehio These mechanical figures, carefully designed and When Dick Huemer asked his famous question in the

of she backgrounds early thirties, “What's the secret over at Disney VT

hud a feeling of airtio- encet were more successful than anyone could have the answer should not have been “timing,11 or 'anal¬
rrc and believable anticipated. John Hench said of them. “People get ysis, —it was, in fact, that, somehow, the characters
e. more outot it than if there were a real actor there. For were made to live in the audience's imagination
 The Future
I oday. the future of animation looks more exciting to charm, inform, provoke—to entertain. Once a mar¬
than a( any time in the last forty years Around the ket has been found that will make different lengths of
world, young artists have been experimenting with pictures profitable, whole new areas of exploration
animation, studying animation, dreaming animation. will be open to fertile minds. And as the sophistication
Where the Disney artists had to pioneer and discover of the audience grows, a greater range of subject mat¬
—and then gradually huifd up a credibility with the ter will become acceptable. Who can predict what will
audience-—today there exists a sophistication and un¬ be next?
derstanding thal allows ventures into many new fields. Walt was always way ahead of any of us, searching
In addition to the long list of cartoon features the for ncwr procedures, new forms of entertainment, and
Disney studio has created, the small commercial stu¬ we never can think of the future without remembering
dios for years have been producing creative animation how he turned ideas over in his mind. One theme that
for 1 V. That medium* in itself* has trained viewers to kept haunting him was the story of Hiawatha. He kept
accept and expect quick communication, brisk cutting, bringing it up over the years, trying to find the right
short scenes* and clear pictures. The world is familiar way to do something with it He said to us* "There's
with animation in many forms and readv lor ureat something there, y’know? Something we could do-
films. something that’s right for us I don't know what it is or
As the audience has been maturing, the space age how we d do it. Don’t think of a film, don’t even think
has created many new materials and fantastic tools for of a show—don’t limit your thinking to a regular the¬
artists to use. The video camera, converted to run at ater. Maybe it s something out in the woods, or on a
24 frames a second, made a major change in work mountain, maybe the people are brought in—or—I
habits, since a scene could be viewed and corrected don’t know—but there’s something there!" That is the
while it was being animated Mew types of computers way we view the future today.
appear on the market almost daily; some claim only to In the late thirties* Alexander Woo 11 cot l, author and
replace the more tedious functions of getting the ani¬ critic, visited the studio and was greatly impressed
mator's drawings on the screen, but others have a with the appearance of the rough pencil tests he was
much more stimulating potential, b. Card on Walker, shown. All the extra lines that helped construct the
who rose from traffic boy to president of Walt Disney characters and search out the movement were little
Productions, in looking at the variety of electronic more than cobwebs on the screen, yet, somehow* they
devices offered the studio, commented that these de¬ seemed to coalesce into a character* causing Woolleott
vices ", will never lake the place of . , . the great to stale that there was more creativity in this form than
creativity or the artistic ability. Whatever form it's in any finished animation, Walt always liked the vital¬
photographed in , . , it's still going to require the ity of the rough animation* but he never found a way to
originality, the imagination, and the newness of what use it properly in a picture. Could it be combined with
you do to make it real, to make it last.'’ live action to suggest the inner ideas or dreams of
Just as important are the markets opening up on some character? Could it represent a fantasy of wan¬
many fronts* trom the home entertainment centers to dering thoughts, of visions, of only half-formed no¬
new uses of TV itself For years, the filmmaker has tions? Could it be a mystical character thal was not
been restricted to the ten-minute short, the hour-and- earthbound and only partially formed most of the lime?
ten-minute feature, or the half-hour TV special. Many In one discussion, Mel Shaw commented, "It just
wonderful stories are ideal for a twenty-minute film, seems to me that there’s even more of an art form in an
and almost unlimited ideas exist for very short sub¬ impressionistic medium out Ihere, somewhere. We
jects of less than six minutes, A concentrated message haven’t experimented."
ean have impact, as well as a great capability to delight. In addition to the excitement of experimenting with
 uncried uses of animation, there is always (he chal¬
lenge of trying to achieve audience identification
through other means. How much sympathy can you
build for a shapeless glob? What technique would you
use to create memorable personalities out of three
swatches of color? How can you make the audience
care about a spot ol light'? 1 he great Russian animator
and director Fedor Hitruk has had considerable suc¬
cess in building warmth in a situation and a strong
tee ling (or his characters, using limited animation, or
cut-outs, or hinged figures, and stylized designs. How
much further anyone could go in these directions is not
known ft would require a special kind of story and an
inspiring type of design to conjure up a compleiely
unique world, but who knows if there are any limits
to fantasy and imagination?
Of course, there are some critics who prophesy that
animation will not survive the present era. Skyrocket]ne
costs have put pictures like Pmocchio and Fantasia far
beyond anyone's means, but fortunately there is no rea¬
son to duplicate either of these classics, They have I
been done, and now it is time to look forward to the
challenges that aw ait us, ahead. Cost always has been
a prime tactor: Walt consistently looked for a cheaper
w-'ay to get the same result, or a less expensive result
that would still do what wras needed. The notes of the
old story meetings arc full of his admonitions to hold
the cost down and to keep production moving. Even
on the most elaborate parts ol b (intasia, he was cutting
out extras that did not add enough to the scene to
be worth the expense. No, it is not the cost that will
hold hack the great pictures of tomorrow; it will be
 lack of creative ability or foresight or planning, filmed image through a computer, (he cameramen are
When the uncertainty of the future for animation daily eroding the private fantasy-world of the animator
was being discussed, one alarmed student exclaimed, and his hand-drawn craft. To the alert artist, these
11 Ifs too good a medium to let slip away! It can go incursions do not rob him of anything as much as they
where nothing else can go—it can show things that show him a way to free himself from antiquated proce¬
can't be seen! U can show things that exist only in the dures—so that he may extend Ins own reach.
animator’s mind!” The second and more startling invasion comes from
The art of animation does indeed wield magic pow¬ advanced equipment used in scientific discoveries that
ers. but competition is coming from two unexpected gradually are revealing the true nature of our world
quarters. First, there are the inroads from imaginative and our universe. It is becoming harder and harder to
live-action cameramen. With filters, special lenses, tell (he difference between reality and fantasy. From
exotic printing techniques, multiple exposures, intri¬ unbelievable organisms revealed by electron micros¬
cate models, trick lighting, and even the pushing of a copy, to shapes and colors in the undersea world, to
Photo by fZtw Church National Ceofiaiphk

N ASA
Mlgniflcaiions.
from
e 1977.
Photo c Kjttt H. Stincirett

pai-ill Si ftup.

These are not the wiki creations of an imaginative artist hut

photographs of real creatures in the world ond of ti planet
in the space around us.
 astounding photos front space, we are seeing things audience,3 The ancient counsel "Know' thyself1 is
beyond man's dreams. From diaphanous, filmy shrouds full of wisdom, but, for the entertainer, it is possibly
to knobby, armored animals, we are discovering that just as wise to suggest, "‘Know your audience.'1
our own world has more beauty, and more awesome
When Rodney Rice, the Irish radio personality, was
beings, than anyone ever had envisioned. Just the infi¬ interviewing people at the studio, he asked one of the
nite variety of the shapes in a spoonful of plankton Nine Old Men,4 ""Does the animator feel isolated
would put any designer to shame.
from society, living in a dream world?" The answer
If photography now can show us a real world of
was. No, he has to be part ot the community, part of
fantasy, as well as a fantasy world that appears to be
Che human experience, to know w hat to communicate,
real, what is left for animation to do? The answer, of and how to do it . He would be both out of date and out
icten in Snow course, lies in the area of personal interpretation, as it of touch if he isolated himself.*’ Mr. Rice was sur
ime no mi/ and does with any ait form. Jt may be hard to find things
own throughout prised. "But don t you have to be wacky to get inside
that do not really exist anywhere, but how they are the skull of a ducky or a Goofy?" Instead of the lively
hat in 1938 they
ied in a political used m a film, what is said about them, and how they answer he had anticipated, he got the straight, bare
pitting the sor- relate to other phenomena are jobs for ihe artist. In this truth. "No, the things the audience likes about these
smatl nations of
area, animation will be around for a long time because characters are the human char ace risiies. IThey can sav,
'er losing their
security as the of its unique ability to communicate. What is needed "That's just like Uncle Joe.' or "That's the way I felt in
the Nazis Wfj5 are artists w'ho have something entertaining to say, school/ or Some kids did that to me once!”1
and the training to say it in a way that involves the Thai person waiting in the theater has paid his
money, and is now watting to be entertained. He is not
anxious to help you with your job. As Marcel Marceau
told his students, "Don't expect the audience to use its
energy to come to you—the energy should come from
the performer .. you must reach out and touch them, "
Other greats of the entertainment world have agreed
w ith this analysis of the audience. The late Jean Renoir,
outstanding film director, wrote in his memoirs, " The
spectator is a human being, capable of reflection and.
therefore, of imagination. Being human, he is attracted
by the least effort; but also, being human, he is de
voured with curiosity.115 If M. Renoir is correct, the
best way to involve the spectator in a film is by playing
on that curiosity with the big idea that has a progres¬
sion, leading the spectator in deeper and deeper.
The graphic form used to present this idea can be as
varied as the concepts of the artists, but the same
age-old principles of communication still will apply, as
they have for the last two thousand years. They will
not change until man's experiences and deductions
have elevated him to a new state of understanding
Die advertising agencies, who have enlivened the TV
screens with all kinds of visual stimuli created with the
aid of electronic technology, still revert to symbols the
world understands for their subject matter: the cute
baby, the grandparents, family get-togethers, sunsets,
a full moon, a miserable, rainy night, the boy-girl
romance, I’hey may have trained the public to accept
cutting and camera work and technical ideas that would
have been completely confusing twenty years earlier,
hut they can communicate their message only through
symbols that have a broad appeal.
The popularity of the Disney films around the world
is proof that entertainment values are similar every¬
where, in spile of geography and cultural differences.
People are people, wherever they live, and while they
may be attracted to a broad variety of activities and
subjects, the one thing that always interests them the
most is themselves. Regardless of techniques, to he
successful the idea for a film must he presented in
terms of universal understanding directly related to a
person’s experiences; for the most important experi¬
ences are (he individual’s own.
This incident was observed one noon hour, on the
steps of a building across the way. A girl was wailing
impatiently for someone. She obviously was annoyed funny or sad, ridiculous or poignant. Rnutty Cartwright
and restless. She was not settling down for a long wait As the audience's sophistication growrs, there is an the blank paper,
many other younji
but changed her position constantly, and the positions increasing burden on the young animator or filmmaker.
Ian, ponders the
were alt unusual; crouched and leaning against the Finding an idea worth putting on film, presenting it opportunities in caw
wall, then leaning against the balustrade, first facing with enough imagination to capture fleeting i me rests,
it, then with her hack to it, waiting—waiting. and involving the audience emotionally is a big assign¬
Finally the young man came up happily, unsuspect¬ ment. li is also the very soul of entertainment, Yet. to
ing. She was accusing; he was unprepared, battled. Walt, there was one more component of his films that
Her frustration broke out in (ears, her head was cannot he quite classified under just entertainment.
dropped. She pointed to her watch, he pointed to That was the uplifting feeling that pervades audiences
his—bui he had to bend down, and twist to see into as they watch Disney pictures,
her lace. He was concerned, loving, but confused. John Hench said of Walt’s philosophy. "I know he
She turned away; he followed, pleading. She accepted looked at entertain men ( as something more than escape.
(he situation at Iasi, hut she could not forget. They There was a kind of reassurance—he always made
w alked off together, hut when he tried to take her hand people feel good.” There was no one scene, or one
she pulled it back and thrust her chin up in the air. action, or one background that created this sensation,
This situation could he presented in almost any but the special feeling stayed with people for days.
graphic form without altering its basic strength. You It was the final bit of magic,
feel for both characters, you understand, you identify. We hope that the great pictures of the future will
They can be young, ageless, ugly, anatomical, shape¬ have some of this same aura, regardless of the graphic
less, styled, or only torn pieces of paper—it would not forms they take. This feeling is needed in our world,
mailer. The wrist watches are the only props, and they and the potential is there, as it is in no other art form.
are not necessary; they merely are conveniences that Marc Davis summed it up very well: ” Animation is
simplify (he communication for anyone who is famil¬ just an incredible medium, and , , , it's just waiting
iar with watches. for another great leader , . . and it will be equally
All the ingredients are there to reach almost anyone, great. And vet, there’s something that came out of
and this is still without introducing any personalities. the Disney point of view, this business of bringing
That addition wroukl refine the situation to make it things to life. . .
Analysis of Mickey Mouse
i. Character and (See figure la-some poses following By that I mean if you havt
that.) in a scene with lots of wild ai
Personality This is a new procedure on Mickey is likely to grow tall uncon
Mickey seems lo be ihe average young boy and is not meant to change him so even when you come to a pat
of no particular age' living in a small much as to improve him. Notice on is good to compare your dr;
town, clean living, fun loving, bashful (1) and (la) the change Is small but the old Mickey just for heigh
around girls, poliie and as clever as he makes the body pliable. For suggestions of poses (wii
must be for the particular story The body should be pliable at all tomy") see figures (8-11-13
In some pictures he has a touch of Fred times, depending on pose desired on to 26 inclusive.)
Astaire; in others of Charlie Chaplin, and extremity of action. These drawings do not cow
some of Douglas Fairbanks, but in all of (See figures 6-7-8-13,) as many poses as there cai
these there should be some of the young If Mickey were taking a deep breath Mickey, but are there to sugg
boy. we would give him a chest. If he were of getting poses—or ntaybe £
sad we would loosen chest and droop putting anatomy cm Mlcke
ii. Construction shoulders, etc.
The body could be thought of as
pose,
Mickey is approximately
A, Mickey's head is drawn as a circle; or having a certain volume, so when it is high—$o from the bottom oi
better as a ball—with the features stretched it should grow thinner or body—it should equal a head
placed on this ball. The eyes and the plumper as it is squashed. The shoes (see figures) ai
blacks and whites, as well as the If the body is stretched out to an ex¬ large and bulky—a medium I
mouth, are drawn to fit the ball. The treme for anything, do not leave it hard and soft—flexible enc
snout protruding out from the ball, stretched out long enough to see, help animation, but stiff enou
and the ears to be drawn as two “not The body can assume anatomy as ii shoes. For instance, do not ha
quite” circles, overlapping slightly is needed; such as a chest, stomach, too floppy on a walk. But that
into the ball, [t is nice to keep the fanny—according to pose. mean they can’t be distorts
black and whites fairly well distrib¬ In distorting Mickey’s body—it is action.
uted—so to not have too much white always a good idea to compare this The legs are better drawn t
or vice-versa. new body with the old one, (Fig. 1), to from the pant leg to the shoe,
See illustration (27)-also 4-4a-4b-4c, keep it from getting too long. larger at the shoe with the km
B. The body to be drawn as somewhat For distorting Mickey's body, see fig¬ ing low on the leg. This also ap
pear-shape, fairly short and plump. ures (20-20a-20b-also 21-21a-23 b) the arms; the hands being fair!
iii. Handling of Mickey in See Fig. (la-6-8-9) iv. Minnie Mouse
Animation About the handling of Mickey's head—
we know it is good to keep the blacks and Drawn same as Mickey, substi
Mickey has already been compared to a whites well balanced so when Mickey has skirt and lace pants for his pat
young boy; so, of course, he should be a smile, there is very little black, but when
handled as that. His poses, not only hold high-heeled slippers in place of h
he changes to an expression with the with addition of a small hat and
posest hut positions of body while walk¬ mouth smalt, there would be too much and lashes,
ing, running, talking, etc,, should contain black if we followed the mouth with the
the young boy feeling, Minnie's poses and mannerism:
black the same distance away as on the be definitely feminine. This mea
Mickey is cuter when drawn with small smile. So it is better to cheat and not bring her expressions, reactions, etc.
shoulders, with a suggestion of stomach the black down so far. The mouth, as a Minnie seems cuter with the ski
and fanny—and, I Jake him pigeon-toed. rule is better kept inside circle of head; on her body—showing a large ex[
The pigeon-toes are more of a suggestion this doesn't mean it has to always be her lace panties. This skirt sht
because J like to think of him that way. drawn that way—especially not in dia¬ starched and not hang limp.
There are many times when his feet would logue or big take, etc. Her feet and hands are large
be pointed, toes out, and in those cases, The ears are better kept far back on the clumsy.
pigeon-toes would be bad. head and often act as a balance for the
The small shoulder effect can be had by In order to make Minnie as fern
figure. However, do nor shift them possible* we should use everythtnj
starling the arms further down on body. around on the head just to balance,
Don’t let this keep you from using the make-up to achieve this end-. Her
MickeySs pants are to be handled as could be smaller than Mickey’s an
shoulders when needed for a pose, take, pants and not as made of ntetal. By that, I
or any kind of action. See Fig. (7-13-16.) be never open into so wide a smik
mean the pant-legs should drape over the expression, etc. Her eyelids and ey
Ordinarily shoulders are hard to make legs and the pants between the legs should
and are belter left off. They can be used to could help very much in keeping hi
stretch as his legs , rt and react to the nine as well as the skirt swaying fr
best advantage if their use is reserved for movement of body as all pants do. With a
emphasis in expressions, poses and takes. body on different poses, displaying
straight leg they would hang—with the Carrying the little finger in an ex
The suggestion of stomach and fanny knee lifted they would wrinkle and drape position also helps.
can be had easily with his back, arched. over leg, etc.
Fred
Analysis of Donald Duck
The size of the head is supposed io be so that in a 3/4 back view half raised
Character and half the size of the lower part of the we show an under side which can b
Personality body, and is kept round. painted to, as the “sole” is painted ;
To show anger, give a ruffled effect darker shade.
Donald has developed into one of the on the head; but otherwise keep the Where the leg fits into the foot, l
most interesting screen comics;. The audi¬ head smooth. does not come right at the hack end o
ence always likes him, provided he plays The neck is thicker at the head than the foot, but leaves a knob or a bit o
true to his own character. His best fea¬ it is at the body end and is to be kept heel.
tures are his cocky, show-off, boastful at¬ weighty, but not too long,
titude that turns to anger as soon as he is E, Arms, Hands and Tail
crossed; his typical angry gestures with C, Eyes, Bill, and Cheeks
The arms are kept thick to help in th
which the audience is familiar, especially The most important thing about Don¬ weight, and the hands are made mor
his fighting pose and his peculiar quack¬ ald is his expressions. A lot can be like real hands—rather long, wit!
ing voice and threats when angry. done in ibis connection with the eyes three fingers and a thumb. In the firs
The Duck gels a big kick out of impos¬ and the eyebrows. We also find that drawings the hands were simply th
ing on other people or annoying them; but the hat and the position of the bill ends of the wings with wing feathers
immediately loses his temper when the help the expression of the eyes. The tail is supposed to be like a reg
tables are turned. In other words, he can The eyebrows are used in the same ular duck’s tail. There is a little flesh
“dish it out” but he catTt “take it*’. way that Pluto’s eyebrows are used. part before the feathers start on th
The Duck takes himself very seriously. Sometimes they protrude above the tail, and they are kept curled when
He has a high opinion of himself, and as top circle of the head. ever possible,
soon as anything goes wrong, he immedi¬
ately wants to fightr When he is pleased The eyes are not round as in previ¬ F. Hat and Jacket
with himself, or happy about something ous pictures. They are more ova! in
shape and are kept to the side of the The jacket is to be rather loose, bu
he has done, we show his nervous charac¬ not so loose that it is floppy—loos
ter by wiggling his tail. I don't think it head. In this way more black can be
used in the eyes for the expressions. enough to help in the flow of aninta
wise to use the (ail wiggle when he is tion.
angry When the eyes are closed, we break up
the circle and animate it into a round- The sleeves are a little loose arouo
He has a very suspicious nature; is the wrist and the collar has a strip
quick-tempered but is just dumb enough ness.
The eyes are kept wide apart to give around the outer edge.
to be trapped repeatedly into losing his The hat can be used effectively t
better expression and on a 3/4 view
temper. However, he is not as dumb as help expressions and takes. Whe
the eye on the opposite side is lost.
Pluto or the Goof, Donald cannot be fun¬ Donald is meek or when he is think
The top pan of the bill fits into the
ny if the situation does not fit his peculiar ing, the hat can sit straight on top c
center of the head- Instead of there
mannerisms. his head with the ribbon flowing i
being a straight line from the top Of
the head down to the end of the bill, back; but to show anger it is good t
General Construction the corner of the bill curves into the have the hat down over his eyes an
A. Body inside of the head when he smiles or is the ribbon falling down in front.
happy; when Donald frowns or is Another established characteristi
[Donald is drawn as Fred Moore draws of Donald’s is that when his hat fiie
Mickey, He is one piece rather than angry, it protrudes on the outside of
the circle of the head with a down-in- off on a take or in anger and land
two parts; has a pear-shaped body; is on the ground, he absent-mindedl
short, squatty, and is drawn to show the-mouth feeling.
We use cheeks on Donald only reaches down for it without looking i.
weight in the body. Keep as much it, picks it up, and slams it on his hea
weight in him as possible, that is, feel when we indicate chewing or blowing.
before going into the next action.
that he is hugging the ground. To at¬ D. Legs and Feet
tain the best results, one leg is bent
and the other kept straight. The The legs are supposed to be short and in. Line of Action
squatty and the feet kept large to give
straight leg is as short as possible, When drawing Donald for a line of as
more of a comedy effect.
keeping (he bulky mass down close to tion, try to make the whole thing curl i
the ground. Keeping the leg up into The feet have three toes and they
one line to give directness.
are neither pointed nor long, but a
the body and showing a sag under¬
happy medium between the two. He
neath will help to gel a feeling of A. Walks and Runs
usually plops them down on a walk or
weight,
run. In walks to show cuteness, it is be:
B, Size of head and neck The foot is drawn with a thickness to have him walk pigeon-toed, and t
 draw the (eg back and forth with the and land back on his head.
action of the body 50 it will make it v. Fighting Pose
look like a wad die. This can also be
used in the run.
iv. Dialogue One of the characteristics the Duck had to
The upper bill is to be kept more station¬ start out with and one we have tried to
B, Takes ary than the lower one, but not to the keep, is his fighting pose. It was estab¬
point of rigidity. The lower bill should be lished by Dick Lundy in ORPHANS3
On takes* Donald is more active flexible* but not to the point of being rub¬ BENEFIT, and we try to use it in every
and more versatile than any of our bery, picture where he gets mad and wants to
characters. To show his nature, Don¬ fight. It is an up and down movement of
(, Set the desired effect on "o” and
ald's takes are almost to the extreme. 1 lu’' or on a blowing action* we distort the the whole body and one arm is held
That is, he jumps up in the air* turns bill. straight out with the fist up. The other
fast whirls* gets himself all out of When the bill is open wide and shows arm moves as a pendulum. The timing of
shape, and in general is fast and furi¬ the inside of the upper bill, there is to be a tliis action is that the body moves twice as
ous to show his excitable nature. All black shadow effect above the tongue to fast as the arm that swings. Donald is usu¬
his clothing, including hat and jacket, give depth. There is a line around the in¬ ally in dialogue in this action* and his
point in the direction of the take. side of the bill and also a throat line to straight-out arm doesn't interfere with the
The hat can be used to advantage give the painters a place for change of action of the mouth.
by keeping it fastened to his head and color, as the inside of the upper bill is a Refer to illustrations on all points covered.
pulled out of shape. Or it can also fly darker shade chan the inside of the lower
off ini© the air, circle several times bill.
Fred Spencer
 'T-L e H/F “if SVtETt

Analysis of Pluto
Shifts eyes from tail to audience to 3. In the case of a mild tal
i. Construction make expression definite. Before dumb look in the eyes, t
A. Body shifting one eyebrow goes up, the in three or four drawing
other down. Eyes and eyebrows they reach the extreme
1, In the rough-shaped like a jelly straighten out, then eyes go from might go additional disi
bean side to side. Head kept still during accent then settle into cur
2. In cleanup—put in shoulders and expression. tion at the tips. (Some!
shape it out for a feeling of bones When Pluto pauses for expres¬ head will look with the
under the skin, sion or thought in a situation like settle back, but usually th
T General conception: Heavy dog. trying to gel on his feet in ON ICE, more noticeable in action
When he starts into action, there is in shifting the eyes, definite pauses head,)
lots of anticipation. should be made at each end of the
Example: expression, with a definite move of D. Jowls: When Pluto is snii
Pluto sitting down, moves over to the eyes from extreme to extreme. ground, the jowls are brough
sniff something. Before he gets up, This helps to convey clearly the they drag,
anticipation of a sag with head out idea that Pluto is thinking,
E. Nose Wrinkles: Flexible, bu
and body coming up before he at¬
C. Ears: Handling for weight four in number.
tempts to get out of sitting posi¬
tion. Head moves over to new 1, Pluio jumping up in air. Instead of
position, having the ears carry through the n. Handling of
same distance as the head, the first
B, Eyes two or three drawings of the ears Pluto for Action
are slower to start. When he lands, A. Pluto was originally a bloo
L General Expression: Dumb and
sad-eyed the same holds good. The ears are but has developed into just a
2, Nobs over eyes tike prominent eye¬ still quite long and they come In some instances he has t
brows or furrows: always there. down with a sweep. In the extreme mated too much like a small c
down there is a stretch and then out any weight to him. Pluto
Example: ON ICE, Pluto slips, they go up into a normal resting dy value lies in using him as
falls. Duck laughs offstage and position. cumbersome, awkward dog
Pluto looks back at tail, eye¬ 2. In a fast surprised take the ears avoid the effect of lightness, v
brows down, conveying thought: shoot up faster, but settle the same he is used running, jumping o
“There’s something wrong here “ way. it is well to bear in mind the fj
 good example of giving the feeling will be used. This sometimes means it
heavy dog would naturally need more
that Pluto is a heavy dog. (See l-A-3) will be necessary to add footage when
anticipation to his run or jump, and in
such spots are reached in animation.
the case of a fall his land would take D. Sniff Action: Usually done in two For example* in the flypaper sequence
more stretching and recovery than drawings of two exposures each. One
that of a lighter dog. In the case of a (PLAYFUL PLUTO) as well as Pluto
extreme down on the ground* with on ice skates (ON ICE), so much de¬
run Pluto would take half again the nose touching ground, another ex¬
timing of a light weight dog in the pended on the building up of the situ¬
treme is the nose up and wrinkled. Jt ation and the pauses for Pluto to
same kind of run. also can be handled on one exposure
Of course, there might be situations think about different ways of getting
with four drawings with extremes up rid of the flypaper or getting up on his
where it would be too straight for Plu¬ and down using in-betweens—dose to
to to anticipate slowly. For example, if feet on the ice. Good expressions were
the extreme up on starting down and necessary in these spots to build the
Pluto were to react very fast to some¬ close to I he extreme down on the start
thing that happens, the action follow¬ gag or situation to a climax. To arrive
up, at the footage needed for such spots,
ing his reaction could be handled in an
F, Snorl Action: Anticipate back with as well as the follow up in action, the
awkward or slow effect to give Pluto
Pluto's head and keep nose in normal animator has to feel the situation him¬
his weight, as in his jump out onto the
position. In shooting head forward self, Of course, there can be too much
ice in ON ICE, His slip was very fast
the nose wrinkles and the bulb in¬ time or stalling at certain points, al¬
but his turn over in the air gave the nec¬
creases in size, showing the nostrils in though it lias been found easier to cut
essary weight for the land following.
fit a jump where a small or light dog the extreme position which is the down stalling in the rough test than to
might take off quicker, in Pluto's case accent of the snort. build up under timed situations later
a good anticipation will give you the For a definite accent on the snort, on. The reason for this is that the ani¬
weight feeling and at the finish or draw back slowly with a swelling up mator works spontaneously when he
land, a good sag to the body and legs of Pluto’s body* together with a draw- feels the situation, and trying to
to a stop position up, or follow lake to back of the head and then shooting crowd things into a given footage han¬
another action* is helpful, into an extreme position with the nose dicaps him to the extent of breaking
wrinkled, mouth closed, teeth show¬ the spontaneity of his work. This ap¬
B. Slip Effect, (ON ICE) In all slips with ing disgusted expression, and bulb plies to any situation in cartoons* re¬
his head, two drawings were used showing nostrils, using one in-be¬ gardless of character. Of course, in
going up. When his foot slipped* his tween with a pause settling back slow¬ building up a situation or gag* the
body sagged* at the same time. The ly from the extreme position but still value of each piece of business should
head shot up and after he collapsed* in an attitude of having snorted. be determined as to the amount of
the body landed very quickly; but the footage it can stand.
bead came around in an arc and then G, Sneeze: Same as the snort except an
snapped through. When he hit* two open mouth is used-
drawings were squashed, then be H, Burks: in a bark the teeth show a lit¬
iv. General Working
came slowly out of it into a hold. He tle with the upper lip curving over Method:
did not slop when he hit the ice, and the gum showing. In short barks
C, Rebounds: When Pluto leaps and which are done in 6% 3*s and 4!s, a In roughing out action in a scene a good
lands, he lands front feel first and turned up effect is used on the jowls at method to follow is to work from extreme
then back feet. The whole body sags the extreme position, giving the feel¬ to extreme as the action is visualized. This
and in coming up, if he is still to re¬ ing of flesh in an extreme wide open helps to hold the spontaneity of the situa¬
main in a crouch position, a drawing mouth. tion or gag and prevents the animator
halfway between a first land posilion from dwelling too much on an unimpor¬
and the extreme sag position can be tant spot in the action. In going back over
used as a final position for a hold, But hi. Handling of those drawings, extremes can be exagger¬
ated when necessary, or a new slant may
in bringing him out of his lowest sag
position* enough drawings are used to
Pluto for be bad on different points throughout.
bring him up slowly into it so as to Expressions
take up just a slight rebound. Possibly
even in the case of him continuing the A. In the laying out of Pluto’s action on
leap you could use the same rebound exposure sheets before animating, it is
and then continue with him leaping hard to anticipate the necessary feel¬ Jan .4,1936
ing in certain spots where expressions EX Norm Ferguson
forward into the air again. This is a
Analysis of the Goof
It is difficult to classify the characteristics of His posture is nil. His back arches the dome—large, dreamy eyes, buck teeth ai
the Goof into columns of the physical and wrong way and his little stomach protrudes. weak chin, a large mouth, a thick lower li
mental, because they interweave, reflect and His head, stomach and knees lead his body fat tongue and a bulbous nose that gr
enhance one another. Therefore, it will prob¬ His neck is quite long and scrawny. His knees larger on its way out and turns up. His ■
ably be best to meat don everything all at once. sag and his feet are large and flat. He walks on should remain partly closed to help give hi
Think of the Goof as a composite of an his heels and his toes turn up. His shoulders stupid, sleepy appearance, as though he \
everlasting optimist, a gullible Good Samari¬ are narrow and slope rapidly, giving the upper constantly straining to remain awake, bu
tan, a half-wit, a shiftless, good-natured hick, part of his body a thinness and making his course they can open wide for expression
he is loose-jointed and gangly, but not rub¬ arms seem long and heavy, though actually accents. He blinks quite a bit.
bery. He can move fast if he has to, but would not drawn that way. His hands are very sensi¬ He is very bashful, yet when something 1
rather avoid any over-exertion, so he lakes tive and expressive and though his gestures are stupid has befallen him, he mugs the can
what seems the easiest way. He is a philoso¬ broad, they should still reflect the gentleman. like an amateur actor with relatives in
pher of the barber shop variety. No matter Never think of the Goof as a sausage with audience, trying to cover up his embarr
what happens, he accepts it finally as being for rubber hose attachments. Though he is very mem by making faces and signalling to th
the best or at least amusing. He is willing to flexible and floppy, his body still has a solidity He is in close contact with sprites, gobl
help anyone and offers his assistance even and weight. The looseness in his arms and legs fairies and other such fantasia. Each objee
where he is not needed and just creates eon fu¬ should be achieved through a succession of piece of mechanism which to us is lifeless,
sion. He very seldom, if ever, reaches his ob¬ breaks in the joints rather than through what a soul and personality in the mind of
jective or completes what he has started. His seems like the waving of so much rope. He is Goof. The improbable becomes real where
brain being rather vapory, it is difficult for not muscular and yet he has the strength and Goof is concerned.
him to concentrate on any one subject. Any stamina of a very wiry person. His clothes are He has marvelous muscular control of
little distraction can throw him off bis train of misfits, his trousers are baggy at the knees and fanny. He can do numerous little flour is
thought and it is extremely difficult for the the pant legs strive vainly to touch his shoe with it and his fanny should be used whene
Goof to keep to his purpose. tops, but never do. His pants droop at the seat there is an opportunity to emphasize a fin
Yet the Goof is not the type of half-wit that and stretch tighly across some distance below position.
is to be pitied, He doesn’t dribble, drool or the crotch. His sweater fits him snugly except This little analysis has covered the G-
shriek. He has music in his heart even though for the neck and his vest is much too small. from top to toes, and having come to his en
it be the .same tune forever and I see him hum¬ His hat is of a soft material and animates a end.
ming to himself while working or thinking. He little bit.
talks to himself because it is easier for him to The Goof7s head can be thought of in terms Art Bab!
know what he is thinking if he hears it first. of a caricature of a person with a pointed
7 1
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