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

1-

The Illusion of lifeDisney Animation

YSNEp1:01'1"10:'

New York

Th~

Illusion of Lif~Disn~y Animation

Frank Thomas and Ollie Johnston

Thi s book is ded icated to

Wa h Disney~1Ild

the sta n' or artists

who brought the magica l qua lity of lire10

character animation.

Cnpynghl"

19~1.

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

"II ,iglll' """ ...."'01, 1'1" 1"''' of lh" bple. pas! and l'"'5I:nl . of Walt OilleY i'rodU('lions. wl'los.l: ooop:n lion and ass;sI.lo~ made it .11 possible. Speciallllanks muSt go!O Ed Aardal James N. Algar Ken Anderson William Andersoo Xavier Aleno;io An ll abbin Ted Berman Al 8enilK) Carleton (Jack) Bnyd Roger Bmggie Bob Broughton Les Ron ClementS Ufry Ci(mmons aaude CoatS Evelyn CnalS

Bill JU$licc: (ilen Keane

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

(he CAl.'CutivCJ E. CIf\lon Wilker. Ron Miller. and Vince Jdfcnls. for without lhei. continued suppon (lVe. the four 1o . m t:mdy difficult . Slill. once an an iSI sees his drawing,; conI< 10 life On lhe 5O; ... n. he .... il1 IIC,..,r again be quite p.lisfled wilh any OIl11:r I)'pc of uptCk one . Anllnalion is IlOl just liming. Of j usl a ,",ell-dn,,'n CharaclCT. ~ is Ihc sum of aillhe facton ~med . No matter ""IIlU the de"i1 one talks aboul-wllelhCT fon:e or form. or ,,~IJ dn .... n chsl1lC'lers. liming. or 'pacilli- animacion is ,II lhese Ihings-not anyone . What you I S an animalor ~re intcreSled in is conveying a ctnain f~cling you h~ppcn 10 h~"c ~I that panicular time . You do all sons of Ihings in orhu>o.', conccnlrat'on and !l..1er

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minalion as he prepares for the imponam swi nS. llien . suppose he misses lhe ball enlirely. His lrue characler will be revealed 31 once! If he is Donald Duel:. . he will fly imo ~ "'ge and blame lhe ball. If he is insecure and nervous. he will blame lhe club and promptly break it over hi s knee . Or. if he is a popular amateur who has been off his game but has 3 sympathetic galler)" trying 10 encourage him. his response will be biuer dejection. and you will have pathos in your slory . Our goal in these s tudies is to make the audience fulthe en>otioni of the ~ haraclCrs. rather than appreci. ate lhem intellectually. Wc want our vie .....crs not merely to enjoy the situation with n murmured. "Isn't he cu-ute?"' but reall y 10 feci something of ""h~tlhe char acter is feel ing . If ""e succeed in thi s. the audience will now Care about the eharactcr and about what hap. pens to him . and that is audience invohcment . With OUI il. a canoon feature will ne,'cr hold the anention of ils vic",ers. The various aspecls o( what animalion is. whal it could do. and how it worked were learned slowly over the years . lliey werc ccnainly not evident when lhe an form was flrsl di$Covered. c~cept in the epic works o( Winsor McCay. the N..,, York Hrmld' , s kill(ul canoonist. Working essemially alonc:. he turned oul several aSlou nding films between 1911 and 1921. with SOme canOOll figurcs so convincing that he was accused of tracing them from p/IoIogroph,. In responsc , McCay drew a dinosaur for hi s next film. and. incidentally. discy were dra"'n. because a few ,timulaling pictures could sug &tit far more aboul the potential entenainmcnt in an episode tilan any page of words . More than that . our 5tones were kepi f1e ~ ible unlillong after ti>c first ani_ mation ~ been dQne. Oflen a whole new chardctcr "tlUld appear from nowhere and take ovcr the SlOry. When we ~ed Snow While. there was no Dopey in doe casI. Pinocchio had no Jinlin) Cricket. and 8 ambi hMi no Thumper, An of ti>cse characters evolved as !he: pictures de'-cloptd. A~ Walt said .. The i'>cSlthing, in many of 0111 ptclUrh have come after we thought !he: $lOt)' was tlloro\lghly prepared, SOmelime, we don1 rtally get do", 10 our personalities untillhe story is in animation .. Jt "'lIS ne'"Cr 100 latc Itl make a ch~ ngc : nOlhing w~s el"Cf ~ as long as I"" possibililY c ~ i,~led Ihat il could be made 10 relate beller IU the overall piclUr.: or com munitate more 'Irongly wilh Ihe audience. We slrug gIed to build interesting. appealing characters. bUI Il105t of all ,,'e worked 10 frod ways to make Ihe audio (Ott Jttl lhe emOlions of the animated figurcsemotions the audience could relate to. identify with. and \!eco"", im'ol'ed in . All of lbis look ,lUdy and desire and knowledge and inspil'3lion and monlhs of selection and building. but that is true of any great a1'1i,lic a01 funny in itself. A lillie old lady trying to sell her lasl bunch of violets would gel a very con cerned response to suc h a lumble . An uger Boy SCOUI who fell while demQnstrating counesy to his troop by helping a lillie girl across Ihe Strut mighl draw some c huckles. as long as he was not hun by the fall. BUI an arrogant construction boss who hadjusl ridiculed some wone. for not watching what he was doi ng would be cenain to get a laugh. Marcel Marceau used a simpler example: if a dign ified man slips on a banana peel. il is funny . If il happens to a man who is down and out. it is no!. Walt also n:al iud that it was beller 1 build on a gag 0 and let the situation develop than to mOve quickly to another gag. And mosl imponant of all. the thing thaI n:ally gI to an aud~nce was their knowing how the character on siage fe l! about whal waS haJlPening to him : the "' looks " at the camera . the bum. the rage. the helpless stare. the blea k express ion . Lau rel and Hardy used these ructions extensively. and Edgar Ke nnedy was well known for his bum of mounting anger. Years later. Jack Ben ny became famous for his abiJiIy to provoke sustained laughter by llIerely looking blankly out at the audience. Of course. the situation

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tI.lIl lu b.: buil! '"Cry c~rdull} and \.'Ic'"(II)' for lhl~ '0 Ix- cfr~.:hw. bul the hu",.... .)( 1M s;lOalio" I~)' In the lous.: ( N' Iknny ', fa...., and the k""" ledg.. o f ho" h:: an embarnscd . 1000hy smile. or regiikr con~cmalion " 'ilh womw brows allll ~WUI pouring off .heir faces in a 11n:am of droplcls . To I~ of us who knew Wal. i. wlS ob"ious Ihll he had acled 001 each simalion and. cNde as Ihal early anima . ion ,,as. we C(>Uld ,isuali1.o:: him up lhere showing how il oughl 10 be done . Walt". glop wen: illlrinsic~lIy n(I I:>cner .han any ocher ~udios. bul lhey " 'cn: llagw beller. " 'ilh ~ Call: taken '0 establiloh .he s itualion . Thc:n: was ~ concern for dc1ail. for building comedy. for mak ing lhe lag payoff. but . mosl imponan . for undernanding lhe fedingsof lhe clwac.ers ;nvolved in. he gags . The dcSQlslion when Ih ings went wrong . lhe happy. bouncy walk when Ihings "l'1Il righl. annoyance w ilh indigni. I~. dc.e""inallon. scheming. fear. panic. compassion _~ were .hings Ihal could be animaled! This ""Ii acti", . and i. ga"IC the animalor a chan 10 Uin ,.. , diffo.:u l! . but in the ...: da~' .. til.: :.",,,cr< h;td d udo...l lhe m.

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If an animat",'s drawings fi~lIy refl:tw I more Ulllul "'ay of moving, Wah would be likely 10 say, " V.... r guy jU)\ ~ in and M 'l then: , ., I don't .lee him do an)'lhing_ Vknow guy nn be fllnny 1M w~y be ~ Ihing~. Look at your comedian~ and clown they've all gOi funny ways lhey wal k orfunny timint- ihere'$ somelhing lhen: . We oughta be looking !OI" fMtnaininl way. of ooing Ihinp. We don't wanl IO~ UaigN , y"know-",~'n: not copying n.atun:!" " C.ncalure " and " uaggclltion" wen: t ...-o faVOl"iI '''Q\h 10 !o1imul'le lhe animalor's a~h 1(1 his lttI'Ie. The!;e words could be mi~interprcted as a TC'IueM for wild , uocoolrol1ed action , bUI that course alway~ ended up with, " Look, you'l"\: not gening 1M idea (If .........TIl .rl here !"" T he K lio;m ....! III be tw.'iCdon rnlism . IIlKl 10 fit the stoI"y ~itualioo , pul o V"T Ito.: point ql tbe ~tne, and be in c haracter with it !be hut lie could, make lhe drawing work for tvtl)'thing lie was trying to say, keep the personality ilthe movement, use enough anatomy to be convincins, and do.1 all .n an e nICn.ining way . That ",.l1y '$ IlOl tiki.g lUi) much if one apprttiates whal any good .nor or monte llai 10 consider constantly. Bill lho$oe c-ty ..imalOn ...~ jus.! beginners . As one recalled withoul malice, ""It didn'l mailer how many times )"ou did it over, Wall bad to get ...hat 1\0 much talk at>u t wh;11 should be done ne xt time a.there was a dissection of ,,'hal had been done WfOf\g on lhe ,u, mil fIl m . and Wall' s commc:nb on lhal were as ,-,'u abk a. his slimulation had been in I~ f .... SIOf)' meelings . By 1933. tile animal"'s had lurned lheir ha,jc let wns well . and Ihey produced a film Ihal ",,,,,Id be lo"cd aroond lhe world ; Thru UIII, I'itl' . h started. new tr:1 al .1It:: Di"",)' Siudio .

Types of Action Widely Used

In

Early Days

TIle audience was ra5Cin.ated with animation thaI reo

pe1 in revu!oC: . AI50 pllpular was lhe series of drawings run in a cyde tllal animated the road as a character ' .m or drfwl NJbbj,S al ,A, "8M lOtJ lit/I. eanJjtd 'ns on lop. n.r", ""nts u,u/Jlly ""., 10 tlJltr ,....'" ,,,,i"""OI"I _,nl d (""".., 1ey

Ane .... jilfgoo w~ heard awunu the studio. Wonls like"aiming" and "overlapping" and "poseto

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IUggested that certain animatiun procedures graduallyhad bee" iMllated and named. Verb, turned jnm noun, IWCmighl .... r", c'~"'rlc. when lr.c '''lIge.rirm ... Why don'l you melch him nUl ",nre '!" hcc3mc . '( iet moreilrt~h II

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

him . " "Wow' Look at the ry drawing." or a~tua ll y animating it: and once it was ., done:' the scene moved on to thc next deportment, Layo ut> w~r~ done. backgrounds wm done. recvnling w~, d()ne. and. e,'entua lly . the whole picture had ocen ut on the paper from one dmwinl!- 10 the ~xt. lhere is a m~rked rigidit~' that is emphasiwJ h)' the move ment In reallifc. this occur> unly wilh the moM rigid share" , uj "',ilf~1. Tlro .... ~ ' .......

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(')SC\.O:te ball bounce continuously. It seemed lik simplicity itself. but through

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Ibo lest we leamed the mechanics of animating a scene while alro being introduced to Timing and Squa~h and Stretch. We were encouraged to change the shape of the ball in tbe fasto:r SCl:mcnu of the bounce. making an elonpred circkl thM wO\, ld be ea.< ier In see. then quic kl y to nliltn it as it hit the ground. giving a solid contacl as welt as the squashed shape of a ruhber ball in action. This change at the bottom also gave the feeling of Ih t for the spring back into the air. but if we made 111 extra drawing or IWO at thai point to get the most OUt of this K tion , the ball stayed on the ground too ton!. creating weird effects of hopping instead of boullCing. (Some tests looked more like a jumping bean from Mexico than any kind of ball.) If we misjudgro oor arrange ment of the drawings or the distance between them . we created apparitions reminisItcnt of an injured rabbi t, or an angry grasshopper. or. II\DSt often. a sleepy frog. Howeve r. many of Ihe circular foons just seemed \0 take off as if they had , life of their own. The bol lNl lo M .i,hlJ (1ft 10.. tarp' .

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ipd'icM ., 0 ......14 , ,~ ",inl of !he story . If I "spooky" feeling is desired. the $Ccnc is filled ...ith the symbols of I spooky situation_ An old house, howling. lea""s or papers ",stling through the

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

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I-Io....,,,,,r, many pieces of actinB require a different approach . If Mickey Mouse is d isroutaged, he tUfJI$ IWly , jams his hands far down into his pIi,hcd

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lell~ ~$ n~ .bout the per.\oOn than the drawings Ik lIIO\l:ment ilSelL A golfer lake. a mighlY swing. -..'hich ('e)-,lld I" an "\'e'n 'I",n~~r 1"''': ,,'"'ylhing ~,,.., fwnl,,"r, Ihe ,-hed,

Arcs,"'n_ TIl1' ";110 1h~ nlnn ,tru,-,"r~ ,,11il1,,1 he ," "I d dn. he naiUmlly I"",,"d lilt' ;[",Ii~t\i;, I" ",,' then'- H,' liITlt'o.:.... lec, dr:,wmg' '" I\,nw crie, of dra""ings i,

""'lied" on Ihe pegs Ihat Ihe proper location for the drawing become, e"idem, No one has ever found a way of insuring that the dra ..... ings will all be placed accuralely on Ihe a"'~, even ""hen nperieneed people are inbelweening the "~tion. and ;t is one of the mosl basic requirements for Ihe scene. Dr~wing, made as straIght inbelween, compleleiy kill Ihe e,>cnce of the an and i~ always kep4 .ubo... din~.c !.C lhe...: Wl\> I" be a ellange from a painful h" n 10 a helplc.C to Iry il all in thllmbnails-lill ie uploraliX)' s~etdt(~_II nll mlJ.,", "1""1'

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

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Ion ralk ro lhese meo and discu ss with them Timing. mun~ of obI~ining cen3in effecls. . . in this way I hop:: 1 Jlir up in this group of men an cnlh.. s;0 u rn and I knowledge of how to ao::hievc: mull'- that will advarott them npidly:' Now "''C ...ere comin~ Net two and rhrcc nighls every " 'cck eilher 10 talk or to lisren. TIlere were liso guc.1 spea kers from OIllside It.. st udio. bUI. while Ihey ...ere stimularing and cn rkhed ou r general bac ~gr[)Und . we did not ge t a.> much from lhem in a praclical way U we did from our own "upcns:' As Le!; Clark said. "1 karned more from worting wilh rhe fellu. and from Walt: The memo ~inucd: " 1 also intend 1 Iu~e Don 0 Graham siudy our beller animal ion. 50 lhal he will be Ible to analy .e Ihings for the younger . nimaton. M ~ work for Don. and thi.l in aI;mdpo.oinl . probably hoopin~ >retly he ",,uld >ho,,' e'"Cf)'Ofl(" ~ . ,tli he 'nalyJ.~ the si lua,i"" , oprncd foo. incoc.< and hil the ~entleman'. fOOl . li e ~ Nck in a casua\. ~hu ftling. mao"" . Ik OJlc ""ilh lhe lricks a/llJ techniq"'" thaI had brought lho: film~ Ihis far aIIC,\ e mbalk on a mOre ambiti"". ,,MlI'M . Mou,J began 10 play an imporlant part , Well ' e ",'orld . The Layoul l)cpartme nl had ""en . 1",, I &vclop, proo'lbl)' bc----even af.e. there were II10K directors and "Musk Rooms " . han lhere "'ere musicians . The euieS! limes for lhe direclor ....~ .... hen he was Ioid uactly .... ha. he was supposed to do. His rTIOi\I diffICult momenl. came "'~n his inslructions had bttn vague or he had miS;nle'l""led Wah 's Il:marks II a

met!ing . 'The lau~r was ~asy to do. "i nc~ Wall had a wly of awiding a positive commitment when h~ was IIO! quite sure in his Own mind. His usual method al such times was 10 bolster the direclor's confidence. sell him on 1he glories of !h~ ""que nee. fill the air with t~ciling geDerali!ie~ . then duck out while evel)'one was still.la!ed. II was no! until hours laler Ihal anyone WOIIld realize there had boen no real resolution. The slronger directors. such as Da"c Hand and Wilfred Jackson . would not let Walt leave the room that way. bul !hey ",'ould push him 10 the point of annoyance until they were positive that Walt knew and approve X.II. fr- I'cculi. Pm,:uins. ,Iw ,iri. """"'1ftI ..,,10 10., iMP' boJf~. flips M ail/....Jon. i~ INs It>. ,Itno IOfMS Jon .... in ,lor at'. HI'''' Laut.-...,; ma.d.1or srrr flap"""" ..,.10 rood an.jr'J>ri~ how I did thaI aclion? I might do it dif ferenl ne1ltill1CC ." 6 111 this shows ~ of the e"tileII1CCnt of that periOO--e"ff)'ooe "'PIing around to sec how _ _ elK did _thinl, It also shaws s0mething abwt Fergy's approach; he would IIQ\ WJp trying to find I new and betIC' wly to do lhi~ same action nell lime . I. was all well and good 10 I~am how some one did a good piece of anirmotion , but .o o;opy it was very limitina and something Fergy woold never under.

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

Fngy"s drawing during this pc:rioo in the develop ment of animation actually was quite good and had a solid sculptured look . Hi s feeling for stretches and !ension right down to the toes and his handling of the n~d! ~nd getting meat on bones-without losing the SlIusagC body and stuffed legs-were outSllInding Hc worked very rough for first te,ts-usually just a tilde and two lines for the body . This kept the staging simple and gave him a guide that ..... as easy to change. With a quid test on his first rough dra ....ings. he could see whether he had something to build on. He could keep making fa'll changes. never feeling thaI he had invested so much time in a scene that he could nOl discard it and try a ne ..... idea if something was not working. This style su ited Fergy because he always had something he was trying out. Most animators ..... ho emplo)cd this very rough method seemed to be cast on wm in which they experimented with fast action and gags-all SttIleS with broad movements. Maybe the", ..... as a cenain amount of impatience in Frrgys wanting to see right away what he was get . ting. or maybe IS Jack Cuning says. Fergy was nCr Vrl. Q~UTI.

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.had b()f11(' a symbol for Ihi , Iype of acti ng. Wilen Wah a~k~d Ham and Le, Clark 10 dnlw a bdirvablc. pully girl for Th~ G",/J,u "fSprinjl. boIh uillWS ,,tre slumped. Eric l ar>oo aoclw oot lhe ~' I(I htlp Ham captUIl' !hi: m ... y. "rm Ihinbn~ OUI loud" Wh .1 he !IW>IM ""'. "Dun' l take "hal I'm going 10 sal t()() >f,;',",ly)c I I 'm nol c\"Cn surl"". bu. ;" I more lublle way than ~\"e' d,mo: Ixfcm_ And ,h:., ;, _ of 1100: ,hiogs Ihat maW.' he r Come off Sllcl)', aoo ~trc"glh had maok knll) an ou. ~tBnding char.oclcr Ilam had remin"k" lho: ~''''''J! a"'",al>"~ .. 'Ou. fi 1 job is 10 tell a '1"1)' Ih,,, i,n'l ~oo",, to I"" ~UlI;" ...... Then ,,'~ h3" C 10 (ell a ' I"'~' Ih,'1 ma)" co'-cr scwr~1 da) ., . "r !>ever"1 years. in a lilli,' O''a an hour: M' c,,",c'I"e ntl)' we have to lell Ihi1\~ ' la,leI Ih"" tbe)' haPI' , ,1

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.., ~-'-aid. '" Iky. ",ait a rninulc~ 1)0 ),ou r.:ali l.( wc didn'llI'l a ,,'ord in'!"' Ibm si~ and said. " Yuh. he: did it again "' ~ "'JS of",n d,fr",ulllO koo'" prccisely " 'hal Wah loa" ;. pocu of business. and .ft... eac h ITICcting dim wouW be wme di&agrecmCnl OVtl' ,,'hat he h.ad Aid.:on:I c,'on more confusion o" cr " 'hat he: had mtant. Durin, thom SIOQIO' IV/tjle \lays. Ham was u.ually the IIISI at kntw"n! jUM ,,'hat Wah wamed . As O~ man p;ot~. "Somoonc: ,,'oold say Ihal Wall ui\l M want S il liM '-;l. Ibm " 'oold ....y. No. lhat' S not what hc: _ . Tho. l< ....11;01 he mean< ... But no one hil il

riP .. tho Un", wilh Walt . and Han,' S fint Iry ~t the:a~ Wait and n100M of klk.., .. , ,,'e.e cOfICemed . llam had an Inl ....csting idea. iIol>'C"CI , H i~ drawing . ugge,ted an aw~ wa.d. pIJIy teen.gel' ".. ilh a wim;"mc " harm . who could Cf'j .-ell b>w t....,n animateelors a.e dl'll"'ings. We cannot

" '00 on lhe in~pindion of lhe: """"lent as an ao;1Or \1""5. bul mu . 1 prc~nl our Char.>Ctcri7.alions through a combil\;u~", of an. ltChniquc. and mcch;onic. {h;ot takes months fMIIl lhe concepliun to the finishW I"oouct. And ,,"'c h ~"c to make the au\lic~ rorget that the~ arc \I...... ing . We Cannot ri.k ruininl a SC.,,, on 11M: younger animators. So , much of ....."mation handout, on the Prince. Snow While, .. IIUM$JJIaII. and the: animals was IUmCd over to HIm. SomdIow Walt always seemed to Iod Ham up .-idI.-. wOO: than anyone else . Fred and Bill sham! the supervision of the dwarfs, ~lId Fergy took over On lilt wiu:h. Any Olle of these: jobs was a handful , butHam'l WO\IJd have been inl unnountable for I1"I05t people. KowcVCl, he h.ad wly of spreading himself ~ .. hik still be ing effecti,e . Ilul 's arW)'lii. of tIM: beSt approach to desi,ninll a d:w1ClCr that ,"el)"OI1I: rould halKlle i. s till in use klday. Cflliinly the execution is more sophi)li cated . but lilt princlpleli are the ,anle-a, arc the problem s. k II _~ing to see in lIam's 1938 outline (in the "wt.:Iil) OIl his app.....adl to ellar.octe. handl ing how ~ iIIIJIIic. !I"d theM: advancemenU. TIle direction for the funher develop ment of.nimalion had been SCt. alKl much c~dit coo ld go 10 Ham . ..... hQsc ability to Bn.>J YI.e. organi , lind plan had helped open the way . Ham was a top dir1Or on both P;If("-rlfio and Fd~ ' lus;l>. a position that he e njoyed. 'Iing;t ga,"C him the Iype of conlrol he nded 10 be mn"t effeclive . Dut as lime pan ed his interest. dll'w him funher Iway from animalion. and iIJi lhe MW group of M1ptrvilins animatorS added their contributions to the rapidly de~l. oping craft flam h.ad Ie and It innuo:nccc Oft the an. fOOT! he had done iO much to advance. lie ~inucd 10 direcl memorable ...qucnccc . notably the cartooo _ _ tion of M a..., PoppilfS. but. insc "iIl'k MIl dc ,d"l'mc:m " 'as perfecl. IIming ...i ... for lhai pooa in Ii"", ,' " E""n lhe old hand 1\1 "'k~y nrcn. su" h as I.e, C"laIt wcre "'l1a1 a. whal F",d e,,,,ld dn. 1' ......1 ..... a~ I .ed natural . li e had a nalu,...~1 now 10 his w'''~ . Ile"ooklD'l m~kc a h:t r.."II. .. F",ddic dJII"'ing" lhal did 001 hl\'c e Y ' ything in 1!If e

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

appeal in his drawings . When

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

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

rom.:! hing well. Walt wanted everyone to benefit from it. Walt kept prodding Fred to make drJ,winp fOl lilt upe~nco:Ilnilmlors as wen as tIM: youn, ones. 10 Ihat .n tIM: dwarfs would look like hi s. This wu. very difficu lt assignmenl for Fml . He would say. "~.I ~an'l go inlo some guy's room and say 1(1 me sitdowl and make I "S ,,, POINTS 01: AN IMAnON I.~. A~al

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2. Siaginj:Most im~"''';ng way'! IW""ld anyone ,~hcr Ih~Ul )'"u r mother lil~ al It( it?1 b;t the m"~t CnlCTIainin~ way? Af'e )'00 in charal df~"" in,"! Io.~, ~"d (,,1 ..' Ihroo Khl 10 Arc Y"" Ir),ing I" ,10 SOffiClhing Ihat should,,'1 be.

lhe projection i" " 'ou ld ha"c to run !)xk ~g ...;n for a fres h ~t;u1 and he would overlap into 11M: -CcllC ""i(1t the bill-linger again. l"hcn they "" ould ~ off on anoIh'P""' ~lIil"J, QI! DOnd with his beard. We ha,'e only had dialog"" '" far.

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

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nne of It... fc",' animat" " ~llho1t lime " .... , 11~,n,n~ . He ...-as [he ani mal~. Ih~t Wall ........ Id.s0 M' f~f "10 $e1 up hi, own an seh",,1 unlk. In e~pcrt lil:e Dot! Graham I Kill and Don !r~w to h~.c greal "".' pc"t for - lhen lhe "hole thing is doni: again. he would,, ' t hclie"e il. My t>o.;s lhoo~ht il ,,'a, runny '" 1H:11-~ hunch of fellow, runtl'ng a.ound in h.111 ".. ,,~ s with pic doni: Ix-.~ '~''''' . I " 'oold n...,.; .......n""tk,"~l . and I k""",- tbe kll,...'~ bact C~.I ~'~r Ihcm lo( nsa[ional ... htn lbo.y heM dcsc.ip1IOO' of the I,..~i"'n~ and opportunities "'....., . lim he", al Ihe _ ""U di" rhose ,hint:. art con""" .... d conmlOnploc;: . Tilt' a,e.a~~ (cll" ... he1\! dIX,,,'t ... wo reali,,, .. hat i, beinj: .,II were 1'\11 up and taken down. and walls we~ moved. aIId projection booths were made OUI of confere""e rooms and offICeS and even closets . As Parkin.ons Law MaleS. "During a period of uciling discovery or prolfUS tIM:K is 110 lime 10 plan Ihe perftel head-

comment."Unle" a lagman is thinking " funny" c'"Cry diy. lit mighl find it hard 10 think 01 an unusual gag .. heft 10: need. 0fIC. and we we~ peciflC job. Walt did nol know where he wa, going 10 use Ihese men---some expens from machine ,hop!; . 0111< .. graduates from Cahech-bul he knew he could IlOl pursue his dreams wilboul lMm . When he wundered. "Can'l we find a way 10. 7" hewantedamanal his elbow who could say. "Well, lei me wor!< Q[I it." Eventually Ihe ,tudio had eighteen highly ,killed enginer> .Iil\ ruled them with a I1rm hand even after thoy "'ere taken Dll. being . Iem and demanding in thoircrilicilm .nd e,ening extreme p",,,urc on every< 1'eCretlry $;Iy? She did not know whal he was lalking about. And neither diu Walt' We gradually developed so many separate units of diror;l(n and layou. pc""",nel on the fealUres and shon.. JIfUIlrams and trans ilion sequences and spttial cffts seqUCntts lhal lhere wlt.> a conSlanl traffIC jam on lhe rt'Ctm!ing slage. in inkers. in came ra. and even in inbetwcoening . Some way had.O he found I.t usc could be made of all the facilities. 11 wu in thi. almosphere. wilh so many people around. th~l the Unit Manager was born. lbese men started nch day wilh a meeting in whiek they pw,ented the work schedule of !hei. individual uniu and !be pro;cc,ied nee< unit manaj:crs slowed lho: wor\e dn:isiollJ ""rre endm!! ~ ~/(ss "f lho lit 01 :an;om-' ion . Ken 1\.1~'11cginning I" realizehow mu,:h T, "'''/ tlir,.. "'''~

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WI"," il " 11 kn ... after the nifll.> justices of !he Su Coun, The board ~()nsisted of Les Oar k. Woof Reitnerman , Eric Lan;on. Ward Kimball. Mill l\aU John Loun,OcI)'. Marc Da";s.l and. the author, of . book. Frank Thomas and OUie John.l lon , We nn . tho"ght of oo[Sel"e. as >ome elite group. and tilt lime it even nosscd oor minds waS when Walt mae.: kidding remark about hi~ N in~ Old ~1en I>cing over hill. or gening too work. or losing all old z ip. In later }'ears. after Walt died, the press pick(~ thi, group's colorf,,1 tille and us.:d il as a ~1~nJOr way of lin king Ihe.>e anim:llors " , hi m. The \t publi""s kepi it aliw as s)'mbolk of tilt old gu Ihal had surviwd from Ihe eJrI ,' days of animat but the;r on!)" reto"'s drawi"g durinll tn. ma~ing of" TV .Iw", Beauty.

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

suong character dclineal.ion. :and the dcsign of the dw acters inspired the animators to I!:et J very Ioo6c: .... dling in their ,,'Oft. But Il"IOn: inlponam. aill" s busintM called (or much personal contact bc:t"'"CCn the bo... tbr fox . and the rahbit . Also. his ",Iationships< anima lor of Ihe~ .......'ne~: 0lin. lit

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Nrrm Wurd Ki""-'ll.W ....d 10 ~udilil'ncd i:.dlar aS- ""'" d~""",,", """"'& all of II! VII '''TfY co"""inbir is.~ ... . Still. 110 ....1C:r how e~ a~pc'al~d we were OI' ilh it en(crc:d 00. lIlillds 10 question hi~ m"li,'~~_ W~ k""'" Ihal he wanled t~ piclure 10 he juS! 3< 11000 a. .. cdid _ fur "va Iwcnt~'-fi\'C yc.rs Ihi~ remarbbk learn """,l~-ed myse lf last we ""dime. U~ Ih, Sh"iff cf NOI';n, loti,. p~' ,hi. rojn inhi. f"ITU

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M < idea, we'~ talk~d (I\"e,. lo>s~d ~mund, be.llten to dc.lh . ..lIang.,.,] , di5carded , rc\'umrcd. built upon. iIIKI "mitkeJ" \\ i!ll()Ut >ingl~ \\wd hein~ put tIown on I"'f"'r. Si~ animOl ion i; a vi,ua] medium, it ~ imjX'nanl th.1 the ~tM;- idca$. the ,'harac'l"fS. lh~ biJsinel< en1inuil)", and 1hc relation,hip, k pre se!tl~d in I"ilual [","111 rath"r tha" in wonk So th~ 1WI}''''''rd ""' innnted_ 1M fIN , kctcllo;, to be pinn~d up ""'ere not the romi""il -' "r prof'< ,,,,dad iII n !:>ut gone", I iII u, t ration, 1Ifthc ide.: ~ro"pinp of c'ha,"~le". _il"atio",. 10,:", , lion,. th< fiN attempt, 1ereen, Thro ugh illl t/Ies( ,h.n~>(" a, io.lcas g.rc ..... into >ome lhing bcll~r or lIiN to hold up, ~r ..... ere found to be 100 elusive to clp!Ure in . which !!""c him a d~f,nite Jd'-anla~~ in prescntin~ hi> ,,\I'n idea,: but Ihe shtch m;1n could conlrollhe appearance or the board, hy ider~J a vC'Y ,erioo, hu,in~, ,\ PI: ~'" n,,,,,, "",ei>led ju 'OUIS !h31 1r>I Lo",td . hi. approach ~".,"Ii,"'>d a '1)'lt h" lhe piclure . ~'kl hi, ~rt:lJlgtn",n, ..1 the -ctnc. aod Ihdt slnfytc ll ing value ""~"I11~ a gunk ,,, the: c Ulli n~ an,! 1'r.:,emaliQn "r Ihe iWc to improw 'Ill Ire .Ia gin~ of ~ No.., rorker

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4 . Solve Spec ial Drawin g ProhlemsIk ,un; ",., no ,'ommu",,. '" ~ .... r t, tile bed>. lhe ...,OOOWS. the fireplace. 3.00 eYelllhe kItchen """ Ihal lhe "hole structure alnlO!.l cook! he \ls~tiud W~I! !-aoJ .. , So~ ..... ",Id probably b."k! a Il1OIII:I of Ih~1 house just from IIIeSC drn"lOg. , y'lnow. IbI Il~>dcl we had of the . oo..n the n,II side.'. and in a liny palCh O,'cr on the left bt ... th tb< horM"S helly_ It i. nOI easy. If lhe bac ~ground has been tk;,gnenc a clo..eup of lhe characl~r. 'n.., pain.~r ....1. '''h' N"" I can ,hoY. all the lel1urc and lhe MId KTalchcs un lhesc ob)CC.~ .. There ,~ r~ally III nmilO k..,p .1Ie ~aTlle background on ,uch a CUI.

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and .he paon.er .... ,11 ruin lhe SCCI>C ,f he 1TIes. A pll'n colored card would be far beller. or juS! 1he rainles' $IIu~stion of lhe 1hongs seen ,n .he long shot AClual Iy. a li\"clI'tj{)U W rJJJd

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Then wllh a sigh. "Now J -"'lI< '~Iu~, ,,,, I h ~ ipt> ,.lwno:H' I""~ ,'nlc, ,,J Ih.1 .'n. '''Ih''ul ,.. , . . . , '"~ 1"1(" r',"I,"~, " " 1. ",'" Iti Ii(oIo., ~"", ,t.< ,I.,,~ JnJ Io~hl 1';011,"" "t Ill. ! Ih.:u Ih" J " Jet> .; 1 .'n III< m and OOCr , ...... Iu.' ~ "1, IIo'e onl) 3 h< IN II>< ,'am ....... tv! J,,,,~I.-J ,IIt onl> I" " lIlen l'~() D ' O.", 'lr"'~hlf,'r" a c J, ,Iullho.)m. anJ ..kil,,'llfJ hahan and C~ Y,)u nW , a 4ulrl aroJ "'".,,,'" ~UI ~'IU311~' >lubborn C h",,, ..... "h" I"HJ I" pl., II>< "3,. f,JJlf as. hhb. 8 " 4h 'I"'~< "1111 ",',-cnl> Ihl 11\,1>1 "f III( haJ dlffi,;uli) unJ.f,'~n..!ln~ "hal lhe) "crr J,I~'nJl . and ~,'mmunl, ~Ih'" N I" fen ...... , .. " ... , al""'~1 ImJl"'~I hi .'~' ,"II) "IIm

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a

.. nted in a design Ihe audience could accept without ques1ion, As one animato, said, "You had to drJw some kind of effeci Ihal would give Ihe impression of ,,'alor withoul costing a fonune," yet what could any one draw in line Ihat would look li ke waler' "You ,,'eren'l jusl drawing the creSt of a wave, you were moving the highlighls and shadows and an the color iooications that were so important \0 lhe animal ion ,... If it was a large body of water. the animator had to Ihink in temlS of the mass, the perspeclive. lhe depth, the movemenl of ii, all going back into space. And he had to be careful thai he did not have everylhing mov ing Ihe sante amoont and at the same speed. which wO\Ild gi"e a t)'pe of rhythm 10 lhe aclion Ihal would kill any feeling of realism, Ed Aanlal was one of those "'ho had a special affinily for large water aClion, which he allribuled 10 his year spent on a fishing bol qualily was accepted. and although water was the mosl difficull effcCfIft " 'ere o'er ! O feel long' S'lilng Ihere In the dark . hour afte, hour, the) nOl keep from noddmg. but ~omeone In the Ihru'l!III c. e" a l" aI's manag..d 10 keep Ihlng' ~o,"g h) s.n, ... 001 Ihe hour or 1M fOOlagc Of the ne~t lnO'e to bf made One of them ...,membfred after an allnlp.t ltlSlOIllhat he had heard, Th. o'clock," and a bIiIr Ille., " Four o'cloc k ." ooe t~llhe ne~1 numb.! ... "S'x o'clock '" Whll had hapPened w fi'e u' No one kne,, II first. bul j!rogg~ cOIIfe 1Qn\ rt,~aW Ihal all Ih",e men had fallen asleep II lhe !oamt I.and SlePI for nearly IWO hours befo 'Oint In .., aI.,. a,,'ake ned them Earl) In Ihls C1 hau!Un~ schedule the final pial "'eu maok for ShoollngtM la~1 \Ccne In lhe pIC1urt ,,.s the endln~ shol of lhe "A'e .\lMJ.I '" 'ove

Ik drt"ings. Maybl' the camera could move horizon tally. but c,'en if il were put 0 t. unquestioning, SO tlclem,inrd? young aOli lhal the " 'ork WaS it; menl sccmed impossible al lhe slart: let a "'TJ found 10 do ii , and to do il SO ,,'CI1I""t the was a,,'ed by the results . The I Ihrough barri~"lo new frontiers waS II10re than us could resi st.0000

Orville and Wilbur Wright ."~",""' ",~r Kilty Ih"k thai lhey ,,'CI'C be'ng eaten ali,.., by sand fleas, .mliled by lhe bIo:ra"'I Ihat got i t cold wiOll., t i ; 'to read thei' ureS wilh i!Ultlcqu31e r tin lhe . i SO exdlcd abou t what Ihey were doing. by the liny successes of each day lilal the)' fell kids again and could hartlly wail r~ the that ,,-uukl bring them it' ~vcry in\'entor has the cha"l'C' 10 lion, fOf o ften in spir~tillO end, up i compromise and d",d,ery . Fortunate are those ha\'c known lhe e X hiiaral ion o f the crcat; \c prott>JWith tile bo:ginning of the s.:cond World w;sr. this camc 10 In cnd . Our highly lrained and mt'n " -cre dra,,-n i I skills were"",", urg",nlly neeC"lion of any personality almost stan. ,",';(h. C()Sluming has been an essential pan of the

less understood impact and poIenli.l of :;:::::~'i!~~~";~:;~: slightlylhe rolors them Hee is more sensili,'. (han rl>OSl when he "On50meof llte caricatures. . [would make

""" face ,'''''n. because of his character. . he '( look good in any OIher color. And olher make their fa~s completely red. and f",os "'ere no! red . Red is vibr~lions andil "ibrations and ~II Of;1 is elecl,ic and iI' s alive if you'"" around a pcrson for a linle while .

. he

or be does no1. Relative values can be learned.approach always will remain. making or sensa!ional. dark and mystic Of realislie or abslracl. no maUCr how ....ell he leams!O pOI colors togelher . This is a conSlanlonhodo~

:

:';:~"~ producer who wanlS a special feel to his

if he has a dozen color stylists and backpaimers. seldom will any be exactly right for , There must be conferences. critand to oblain a i ilit idea and graphic

~

~~:f.~~:~:~~~:r"j~f'~

will ha\'e the responsibility for IIQI only a cnlor ~ey for the whole picture. but of til.! characters in tbe various direetor aJ,,'.YS may have visualized in a pink gown. but if pin k does nOl fit the 1Ct.eme being suggest~-d, he had bener be pre_ change his concept. perhaps radically . The "Nutcrac ker Suite" or tbe quaint 1 tt '. house only can evolve as the "m together perfectly. The background man ... ill have complete authority in this area. since is fully .uccessful when one function has domt a balance is maintaiMd . the direc layout man "',ork do",ly with tbe painter producer watches the results carefully. 1irtt~r oelp comes from the Color Model superviInk and Paint Department well. ability to qualify for is easy to do and woat is difficult and time how much any prOCI'SS will

cme what colors are available. and even " 'hich ones are stable or cause problems_ In addition. she is 3 fine anist and has a good color sense, She knows how much tbe thickness of a cel wi!! darken a color and "'hat to mix to compensate for tl>e loss. To tbe un initiated, the list seems endless. As one of the women put it. "You had to know e"ery other aspect of the business to do your own wor~ . and be creative about it. . . We're like a liai son between all the departments,'" Finding a set of colors that will work with the gen eral scheme. the specific bac kground. and the needs of the character is only the beginning of the problems tbe Color Model expert faces. All of the earlier work has been done on paper with a variety of techniques. and now a way mUSt be found to achieve an equivalem effect in flat shades of tempera paim within outlines on a cel. Handsome. appealing characters li ke Jiminy Cricket or Thumper look so right that the average person has great difficulty in imagining their being any other way. but tbey all took imagination. dedica tion. and persi~tence. One small example is the expense that will be incurred in putting any character on the SCreen, To begin with. each color represents an expense in itself by the time it is mixed, put in small jars. dispensed to the painter. PUt in the exact area On the eel. and then allowed to dry. Each use of color adds an additional expense. so the Color Model advisor speaks up early when she sees a bit of questionable detail on the ani_ mator's drawings . That item will have to be drawn many times. have a color selected. be painted on hun_ dreds of eels. and. finally. chec ked carefully . We were told. "Each button COStS ten thousand dollars!" and ....1: became vcry selective in our decorative additions to the characters. The question is constantly asked. "Is it worth it?" "Do we really necd that exira but_ ton?" " How about the buckle on tbe belt--docs it really need three colors?" Jiminy Cricket had 27 colors in Pinocchio, but "'ben he appeared later in the Mid..y MouStilt g o~c Wall "'hal ho ___ !OTOC OUl$ider came in wilh an lde~ of ubi!: over for a while. lhere n"tur~tty wa. SOIll" ronnicl MI one could c,'cr run IQ Wall and iI.,k him 10 ,tr:t,~. 0,,1 or Ikflne lines of aUlhorilY. S coch man hadlOW o his own diplomat and do whal he C\lld to get Olhrn. coopc:nl1e . ThaI w,s the "'00-1 pan of 1'1111 Dok~ '~ l ie " 'lIS respecled and he was hked. bulhe IWIO cnll1dy Ihroogh other ","'Oplc and tho" de".._, " 'olh " 'ords as his only lools. lie ( oold not poII1Jl ~ .. them. or s hoot it for them. or c han~ a teltS for_ and sioce lie worked primarily with Oilier an,!-1. . . was no end of opinions on whal the color >hooldll and Ioow it could be oblaioc't! , But Phil w.s ''tT) ... Iomatic . always look the bl~nlC. :ond ~_ thai the mos1 beauliful scenes c,'Cr done In IIU ,,~'" ( 'plum! fore,..". on film .

~ne

aooIher"

a'l."'_

Ink and Pain t'I\Im: ron>es a day " 'hen the animal ion dra wings h3\"elien COOlplete( pai", u~ "'n ~ue. lhe

::.'7.,~~'~~;:;~:'

":~:::::~"'; lhe eel would bloc k OUI Ihe parIS of tl he wal co>"ering. while lhe dur cd httIt dfect on . i else in lhe Kelle . Earl 'i dilCO\'~ry.or in\'enl ion. and btcn 00 essential change in Ihe procedure in

t~::!hing lO!>lIy 1....1 lhe drawings " 'ere lracedcdluloid. bul quile another 10 do iI, Anyone . ,.. " . '. ,' o w on glass wilh a pen will m:all

Ihal nothing mighl come OUt of lhe pen al aU. except a long. fine scralch , You draw ~Iowly. you draw fa~I, ),ou make link mOkes . ),ou usc sweeping lines. lhen suddenly. for no reason, Ggrbloob! a hug( ink mUSI be floaled " 00 ralher Ihan elched in 1 bc ~ ucccs,fu1. 0 In New York, il Will' fell that only men could master Ihis diffICult an; in Ho llywood Walt assigned IWO ,,'Ornen 10 lhe job. and " 'hen he could not p.ay lhem he married one and made the other head of 1m, Ink and Painl Depanment , The IWO ladie.' in qUeslion ne"er denied lhe slOry. although tl>(y exhibiled knowing smiles as they listened 10 W~It' Ii relelling of ;1 O'~ lhe years ," Mary Tebb remembers !he day s Ihal followed be ~a"SC she in ked all of Th~ SkrltlOIt f)wrct by llersc:lf. riM . .... ulls. and ,~nebrae_ She ask! het'selfnow. " lIow did I do it? I don' l know. J wa. young, J sec il now and I'm amazed!" HUI it was si mpler then with a heavy. untapered line ~rQund e>"erylh ing and none of lhe refine"",nlS Ihuch a "'ark of an in only a few ""'"' )~ars . II WiU Walt. as in aillhe otl>(r functions. ,,'00 gradually raised the qualilY; he asked in a way Ih al ~howed he e~pec!ed (he girls lobe able 10 do ;!. In Mary's ""ords. " That's " 'hC nce in Hambi JU ~s he fi ni.cs. In fol k songs. popular soogs. sentlnlCnlll ballads. Ihey found m(lodie. "'ith strong

thaI crealed an immensc emotll)ll.ll Itsponsc. ~'Ioy'" theater mu.oc,ans Ilad a lfItC,al fffiill for JUSt lho righl music 10 fit any silualion. t~ bP:. ground 10 r~"eall lunes from cverywhere. and I~ abi~ ily 10 improvise constMlly. adapting new iu", thai do"' ....... d lhe r r,nd a .... y. 1.001:,. back On it now. we Can sec thai it "'as "aluable ad necessary Iraining . Unlimiled footage nc~rly al"'11I lulls Ihe ani mator inlO a ~l ipshod I'crfuflilance While II>d con-

lIdmbIy mort work ,,'as requ,red 10 fiJ>d ac . IOId the >l0f)' . and >I,ll buih a penooali., II mo.n~ ih31 " 'as righl. ,isually. ,t)U1d ",Idom ...rn.t-.: sound on the U1lCk a. Iha. poin. and lhe ~ had '0 110"'" mon: like c hoaographcTli, 1)'uI~ 10 1lI"ld ~ un,riC " 'cre Ic'" N ; how long dotll~ ch ... aclCr ..7Jk. bow ...... y SlC'pS

uxt Of tempo seI by the "",.ician ,hal could be

m.l"'cd on the

c~ poiu"

. bee!. When . mcl('{)r'l() in waler; lIounmc ()n 12 beac .

maUM" dccKkd '0 .,;on lhe occ ... .. "h ,hi: alone '" III< wote. 'hen bring lho

.ni

-,i~i2:~~;~ ",,,,."',~

AI,n ini;

f",

WI lt S'"l'IChfidd immedi_ ~Iydn:w I.ke:hof. man at I~ oo.:lor', off,ce ")'in" "Som, ~In! ,he t..sI. Thi, W1$ chancd on """jlo)$U~~. ,..~h the I fnme>bbnk .,Ihe >Ian. co,ng 16 f..",., (0' Ihc spIaI/I. >nil """' ...... 8 f"",.." ...... (111;1 ... ..., ,lie pioclu~ drenched. bul boighi",. The whol< ow,.. '-10 ~ fttt 8

of ,he pup ', head ., he ~ '"' hi. run . To

,he.., became It\< !">Silio"

16 p was c~". ,"'hie .. P'" the pup. happy. bouncinB """,lcpo that ..,.,nd .., """,h... ",.1 in ""';tin.,,, ill oll .. imulal. hi, imagination . and in. on:'~ lxlth the fu" of doin, the ocellC ond Ute prtlbobil. ity that it .. ill comcOUI on tho so"",,, just ,he .... y II< has .i .....lihot or til< ac tion of ,II< (ox and hound pI.yin, in Ute " '''ff. Wi,h

no

$Olid

,un..,.,

",,"Ulh

. . 10 lhe >pol " .""",, he~,anddi"idlng j,

into

10 think about his ""nco pl.y " 'ith tho idoe . and , ..... it all ","'ff in hi. mind ber"", be i, co.mnil1cd to

tll" .",""""" . and ,he mU'tel.n an opponun;ty

Sec"" de"criplioo : Fi..., h.tie P;I runs iftlO his

$'''''''

houH. slams doof Wel-

come mal I n fron, of door. He ope ... door. pull ~ in "... ,I.m~ door .pun.TtmpO: ,woJ 14~. 0.-7 f'"mes

f...

,'>'do.he

pcr

""'!.

First. we de,ermi"" tbc

nuun

acccnt~

,.-t ,.-ant lO

'" .uppor1 ,roc lC!ion.) The bel' :>I'ccn, musically for h,m '0 da~h in,o ,he house would be on Mca'Su,. 155. w"h ,he door .Iam roming 7 f",rntS !a, on ,be up~.

- Gotn"broughtlocdoor. , 1.2. Sllmm,n, the door.1. Orr slam . The dr muM be clo>cd 10011 enough '0 the of lhe house w"h ,he ",ekomr ma, .,

g., pic''''''

'em is jlUssible. II i, f.st. bul .Ho"",, Ii".., "'..,. ..ery Ih,n&-,heudted f:>l'c.'he ",och . ore ;1(1)00 ,,",II be brhk. bUI "'hen " " chaned on lhe ul"""'" '''''''' il i< all cleat or in'ere,""& ' II ,. 1>me '" "an .n"nallng

.how. ,h., 'h" pa'_

Tho: ..'hole Klion of S,,,,,,, \vhi,.. th~t ,howed t~ Moo"" lying on her bier while her friend. mourned_ planll'cries and r""lingl: " ~en in !hose earLy cumedics I SIn'C (or a mood; IIsually music c realed it An old ~ng ca lled Mrs. Grulld), crealed lhe mood (or 1'ht Immi,ra"', The tunc had wislful tenderness Ihal suggesled IW(l lonely d"relicls gelling married on a doleful. rain)'@:'" 'rae .... _m'"I!1It Il0l>1101>. "" ,he ,,~..,,)' . " M,",ure "umbel> ""crc ...-ri"cn "" the >111>. alon ~ .... ~ acrmh and iUl)' OIhor place"",n!> ,he difn- ... or ""~h! """d. Ac{"", OOIe. " 'ere .. fIl'en t til< Pcon:d lrac~

music In ptctll"': " RighI""'" you 100 much sharpness ar.d 'boomboom- of the piano , When one o f 1M guys gels an idea . 11M: key!ohould chan", . WlM:n he lifts up the nmsie g,,",i " ';Ih him. al> . too..ld ron .. 00 ,'''' off bt. .11..::;"' ''''ilh.h is problem. On a 1'1 of blank film. he I"'""hed (KII hoi., ,h., would make clkh.1Id pop5 ... hoen ,he film ...'.s run '"' .he soulld head . "T'heJo: sound, " -ere tilllCd nactl y the acl"", '"' .hc film . .., ,he m",ician rould hear wlocrt .he ""C."t~ c.me while: wrilillil a SCOf'c to

'II!'

'0

maleh.

lbt I"'bloc conllnued 10 enJOY .... in' clnoon cbor acl." 1110"" in close rtlation 10 ,"",ic ; there "" as ..,,,... .hin, f"""n,'in,aboot il alld 1lOnICthing tha, felt ri,11l 10 Ihtm. 1I_'c,.." . iI had to he dont "",,'ully . ...,th alld . urpri.., arefully avoiding the choppi"" .. alld "ricky_tick" ..... 1Id of the u,ly C at-

"""" n"" . .,,.,

,~ .

Walt also ~\l g.ge~ted tloc", might be feelings of diwnaroce in .he harmony. for the sak~ of comedy. and 10 5hw that tbc", was 1>0 a ~reemcnl in Ihis group, Without jus. the right feel ing In the ",usic. he l/lc)ughi tltt: .... hole idea of doc sequcrocc: " "1$ onlinary IIId ~ ..tdi doing_ He ro""'lenled a. the end ur lhe mting. "lt~ imponanl that ..'e work OIl' a good musical pattern {It! .his or else " 'e had bener give up .he idea and IrY 10 W()rk i1 0111 in some othe, .... ay . The seqllC'lICf wally was ~ut OUt of the piCIU"" Wah was JUIl as Crilical of the songs that 10m !ug.gcsted for !he characler! ';plaining the c.lNCtion of a musi,,0.1 number and the relation of form to the reaction of the Ii.ult could be usc",'c oc"c _It"",tun: mO>l be ,

by II>c na.'ounds he can find. and. also. 10 dedde juS! how many he should PUI in . Too few can make lhe film sound spot Iy. 100 many can make il sound ridiculoos. AI Ihe Slal1 of lhe war in 1941. Ward Kimball and Fred Moore were animaling a long. involve!ing into ."",1,., lhe WOfCe of lhe humor. lhey paSt lhem. and Ihal very

~~;:::,~;::::::::~ .:';=:';:'"ma n is asked 10 come ,

",''''r

SOlInd for somet hing tllat cannot pos.ibly iOUnd of ils uwn: fur instance. the sound uf a "'eb shimmering witll de w. Wah insisted that should be 5pe! pa'>I n:eognition o f it as wond al all . It was mtII'C of feeling, and il fcll like a magnet should souoo!

71rt- ",."KIP!.. cf IIw ",~/,, pia," """"ro " .Irot.n IH ,Irt-... ""'/oIk~,,,. IIrt- " ....

cf "'' * '"I~,'..il'

r/~ m .. ",n' hm .. 1M era. When il was firsl used il was very special. aoothr public heard enough aboul il 10 know Ihal il ...... qualily in produclion and vi~ual e~c ilcmenl. II ..... good publicily. a grea l adveni sing ilem. and the NIDI appeared prominenlly in our ads. We well: amazal one day lu sa an ad fur a Warner Bros. liv.-ac~ fealure, laid in lhe wooded hills of magniflCenllllOllalain01 he the &OiI1 of dir1or . He may he after lhe reality of voices "';:::: in a cro,,d. lhe confu~ion of noi~ in ~rong ao lhe impact on I'" liSlener if he were the re ! The man want., to hear every JOUnd clearly ~nd the direclor " 'anIS emotion and invo lvement. There are 00 ab'iOIutcS in sound ; it is all ., ships . You c~ n havc more highs. or 1llOIl: lows. this. or a touch of thai. or a bit of ~,crb. It is plex. and it is all conlrolled by a sy~lem regUlators and buttons that only the " miAt, " te finished dra ... io,. (which will be pu. 00'0 ""II and pain,ed. for .noll,ct 460.IIOO!) .

n".

This mokes.he follo wing vaPl!ning. or il i~ lighled so Ih31 " '1Ia1 you " 'lim 10 _ i) in sh3dov." (}tt..,iorAlI), lilt fOOUlJ(' " 'iII ~ho,,' o nl y ronllnuil)' of an actor lt1QVing from one pl ace 10 allOlhc:r. or jl,lSI ...ai,ing. til' gelling ;nlo posl' lion 10 do sOIll"lhing ime"" , ing lal~f on . Tnc aclion muSI be "at:cd wilh enough delin;ti"" and emphasis 1 0

(

trouble f or

bould late. is pbnninllO ::~ ::~"=.gc.lhc di=tor .shooc and ask

h;InJ lookhim~1r:

b llIis m.lcri~l really r(lIdy 10 go inlo animation?~

lilt t..Jli",,~s fi t It.,, , tory'! The Char.lClcr'.' Is it TM ..'look pt'tI'dwriM """ "'",. pod)' ""ying _~ d~Ioj;\Ie. or is1(101, ch~~

,,,., '4'. Itl,_, .....,..~~ .... ~

of lnKiaJ anioN, /11

it I s ituation thaI gj"e> tl!(,

"",r1,,,,,,,.

'0 build

and C(m lribu le?

Un h:ipptn to lie! Some: funn), action...- "" ... bu,i"ill;1 rot? Can thi~ be I,IS/:d casi l)' and cff bdi! Oats ;t animate as it is? Will it m:I~e: a good _ ? WOlild I Ix" ucitw if I had 10 animale it"!ml.

Ji ,""'" f :,", I ..""", n'";"" $ ,,,., sc'ipt ~,ltil~ pro. J""rioto ou1>IK: eI", ~> fitm . . ."maIQf lhe ~amc"''' ;1 I"" far back . ur I"" . ..., I~ a.;tion is s iaged al the ... fon~ an~ k Itl

..

00""""

" ~_IIOIUC-Wpurfr"",Copf. IIOOIl: en' er_ tainmenl. lhe live action film gave the animator a springboard '0 go beyond ",hat ho could II.3ve imagined himself. helpWe photographed anything that might ful . nd soon we disc...,..,,,,,,, thai the limin, of a clever actor could make I mild gag hiluioos. tllltt an e"perieneed siage comedian ...oold offer SlI'" ways of 5talinl ' 5C"CTIe's business. thhannl a space. moving them aboul thtir Mtpping QIl eaeh ~her. " 'hiie kttping a

.::,~~:~~::~ " 'ilh Snow Whilc-l he: on ly long

if some crit ical ""ling is the sceneinislhe: scrnc . s hot "'ith IIle actors mOve around in a "'~y Ihat 110 the animalors. e' cry..... will be""fit. C1art W2S li~n the Stt"" to animale o f lhe

dimensions of Ihe dwarfs' room tilt \Cate of the char~ctel"l' Ihrough their moveAnimating the decrease in the lirr s size as she

~

;:~~::'''~'':'~'':'''~:'''but the matchingby,,or\;wasronlrollcd perspecLcs animated from imaginat ion scene amazin gly convincing and added crethe "hole sequence . dancing ~nes in I slOry should he . hot e arly

'~:~ :_:ghoul the: musical number. ",iller picmeal ...hen an animator nttds . Obviously lhe chorwgraphy will be richer if a it all. inslead o f leavi ng it up to the ,~, o f some SlOf)man. In the !iCtne there waS a special problem w ith Snow hand positions. Ju~t how high can a dwarf

.. f,,,,"

re""h up comfor1abl~ 1 danu ",ith a young gil l? The 0 heighl of each dwarf had 10 he planned. not in relation to lhe girl doing lhe Ii,.., action bul to her canoon propor1ion~. derived from the photoslats of her dancing . For the scene to be eff~tivc. il ",as important Ihal lhe dwarfs should no! str~ in or he awkward as they reached to take her hand . Fortunatcty. with Ham Lu, kc shooo:ing the li~ action. a ll such details were c"", fully covered It is not worth the trouble of filming simply 1 0=001 a change in ,i1.t as a c haracler co"",. d()!;Cr (0 lhe camera. but if a nlajar pan o f lhe design o r a sec"" i. ~ on Sianling perspccli"e or the "'Ialionship of several character,; working in penpecli"". then ~ g~at deal of Ihe unimalor 's time may be saved by first proving out the effecli veness of lhe: scene on (,1m . The same ~I Megy applies to the action o f the inaninl~le objects lhal might be in ~ scene . Ro ll ing bamls. falling trees. avalanehe:s. maving car.; . wagons. and tllin. are all tirtle o(on,umi"g and tcOlher carlOOO ftal .... along It., lin~s o( the successful S"" ..' whi,e-1>IIhet lhan anYlhing cxP1 "OK for cleanup" wilhoot (~ He IIlmed to live ac1ion 10 solV do the going l~ms

mt)l". of a ,heM' '0 ma j.srk SlOK in Bombi 'han

,h.wu.

,M bullns of ,h. hunufj. No on. rou/d draw ,h. im (X)sing anll." So 'hat ,h. colum. and pu.pu,'w ...,.,. ~onsron' from. draw ing ,,, drawi"g. Th. ac eurary sun hut ~am' from 'rodng a plasru mod.1bt ,umro in on>" di r'~"o" '0 "",'eh ,h. ani """ors dro"'"g .~ould

,ha,

339

tt" motkl''''''*''1 N/II -

""ltdGjgi"uJ...-~"

Tails and Ears Are Important Too

JI'U" ,.I "" .... "'/w" ptUf. of ,/w ..""""'" ,Irm ""'" IwIp Jtow" "" ""'".,". It "'" /It' ..rrlINI'" /It'1Ii~ ~"II. ,I0000' alrrMn /It'

IO """""t

CDM aI''''' a~ilft(l/(N, ~

Sm'(" k,,,1 M lllp ;s>Ma,~ D;m._

!Ure. We had link de~ire to probe: with our fingers the inncr .... orking~ of the orangutan while animating King Lou~ for Tht Junglt 8oo1e . A few th~rts of comp"r ati"e analOmy and some rttl! of film told us as moch as ...-e .... anted to know . Long before Our artists encountered Rico'~ fawn cadaver. lhey had been ~tudying the JlcnUBI behavior of real dec, at close range . "The sWdio had been sent a pair of fa .... n~ from Mame that ...ere kept in an arc.a alongside the animal ion building. and the arti~ts had only to glance out the ...indow for stimulat ion and ref~reRf;"e 10 the real thing . Despite the great vaJ~ to the artist in dirtttly observing an animal in iu daily activities ..... hen story called for a rare or unfamiliar action from a deer it was still a major problem for lhe animator . In lhe first sequence of 811mbi ...c needed 10 portray thoso: initial fcw minutes in a fawn' S exist~ncc. " 'hen it is ..."Obbly and "ulnerablc and plI17.lcd by the world. and dependent on ils mother . I-loweve . nature endows fawns with a sirength and ,,)ordination that develops ~ quicldy that " 'ilhin only a couple of hours they all: "ery different n~atures . WbNUJ.ywoJ"p 10 ",,~, A s 0 " ' ' ' ' ' _ dl/lnxftr. "..

"'''''ing hoo.llu",_

M'"'''''''i'''''

w"...m",.. of feeling, and wilh a little adjust"""' ilIId there(to improve the sync and m:llch

r

il .

. scenes were shot of a dog and luming, coming down . Mraining on a leash-a ll of which were lids in liming scenes for lhe piclure and ......'" ~ 10 achie"" nDmrar' appearinll K lion . ~~IIC'S Ihal broughl Ihe charaClers 10 life were

lhe one ~ imagined by lhe animalor. showing whal lhe dog c\lld have dollC'. in ways lhe dog would havc done il . In addilion 10 mo'~mcnts nttdcoo closely lhey SID)'ed together, with their ....ds almost inler,wined. We had Upecletl lhe roll of lhe body as .hey paddled abou. c lumsily , bul the way lhe two geese wor\;ed logelher "'a~ Slal1linll. AI once a kind of charDCter emerged for .he 1"'0 . which ,,'enl heyon lile slOl"}'man 10 erealC s ieual ions where these individual lrail~ can be brougllt OUI in an emen .ining way . Many animals h" 'e !heir attribules al~ady defined by the legends and sU}lies o r various culeurcs . " coyOle is. cunning and wisc hero tu the American Indian. and I villainous predator 10 the Sheepm. n. To mosl people. a rabbil is nervous and almosl completely helpless: I wolf is all villain. whether he i, slavering or deceilful: and the beaver is liard-workinG with no sense o f hu mor. When casling a pic ture with "I\ood guys" and " bad guys:' llleSC are imponanl consideralions. "The "good guys"lIavc 10 be small . ineffectual. CUle. and associated with OOIlviolcnce . II doesn'l maner if !he rcal animal is thaI .... y or not . You are playing off images in lhe vie,,"CT$' subconscious. and if people

aeesc.

grew up thinking a ecru in " 'ay that is where you IlII.III SIan . To hl\'e a mean and cruel kinen tcrrorizi", I family of nervous . nigilly bear.; is an uphill fight (0:.e ' "CI)"body . Still. lhere IS considerable room for van.llons. I. Robin Hood. some: of u i thougllllile Shmff of~ lingllam " 'oold be nlOll' inlc~~l ing if lie "'m: I ~ As the story wu structured . lhere ,,'a, no oem fo:.-'to be ~ crafty villain: he " . ~ only slUpid. bossy. and u!\Concerned wilh the peuple he mlghl be hurti", A goal Wilh a lh,c k skull ,ould do lhi.' milch and gi,'c lilt animalors ~ neW animal to dr~ w lhal could open op fresh idt~s . The director of [hal film fc!l jU~1 as Mrongly !hit tbr Sheriff shoold be a wol f. becaUK tile I lile " 'olf 10 be villain . The facl lhal ~ shown him 1 be good famIly =n and I 0 fellow " 'ill do louie to cllang.: ideas lhal ~ . " , _ old . In aojdiloon. lile goal has no established 10k legend. and .. e ,,"OOld lIa"e the burden of,~;. . . he " 'as good or bad or indifferent . De"clopin, image coold w~~le precious footage lhat mighl be bIl ler used to .how entertai nment in lhe .pecifoc kind villain he was. The mUSI provocalive discussiuns come when tbr story calls for a mythical crealure. or one """ 'd appurcd in tale or legend . A dragOll is kOO\lll ill-tempered and s ullen . so Ihal is not too much

m.

~m. BUI OIherWhen Wool", no connotations . picture, ~:.:,:~.:"~~~~~mating lile dillO$3l1l"S in F,mt"siIJ . Walt

~"TtMII

~;;;.;'".;

""/"''1 SlnpI"1

~wa",

of an)' human personalit y tr..il$, " 000', m3k~ tllem cUle animal personaliti"" They ' "c gOI small bnoins, y' koow ; make them ",al!" II was a disanning m:juest .i nce ther~ was little ",sc~fCh pos~ihl~ on "'hal a real dioosaur mighl hase bc:t'n like , but WooIlC "'3li 1\01 bothered. He dipped inlO his imaginal ion, com bincto tlll".\.C forei~n ~ We kne,, ...e cook! make Ihem n:al--th31 itOOied film of deer. looted at pictures. taIted to the: sketch men who had been drawing ~r for ""* of 3 yur (while tM Slory h3d bn shaped arid &vtIoped), arod w~lched deer at the loo. The t,,"O f."1\1 kepi at tM sludio had long since grown up arid dtl*\i cd. so we gOl 00 Ilelp from lhe:on. bul we did ha.t film taken ",'hilt they ..'C~ )'oong arod frisky . Howevct. no"'""u cou k! " 'c ~ the leg !;,'" ...""",. I" if " ... " ~ ...II Md IooJ "~".,"al /,j_ " p... .,..Ira .., rMrt " . .... 1Iw< all Mimi III! In ........ />vJ, J,'""Pf't""ru

_,1M ....,,,,.. w".

... "I"" ,"''''''.... .... .V ......., IN """" cr.'hilt ,h"I'" .., ~ ..d ,ud/,vll." n

"'*" ""., """II"""",_~""

tri?-rflltr/ilm Each .......

_i.. g wrMof'~~t>(:. /i" ... 0{ olh~r ".,,,.M,, of ~is ",'".

Ajri...

th.nliciry 10 his ideopool 11>< animalion ir.dusuy. II was C""led origin.lly ror SluerOQl Sue, lhe ,itt who capw tMd ON e{ .1tntI1otoJ..... a

/tom .....

S"'("~ .10, HqWre or C'OO,pl ipt ot .. abN 0\11 pf'C" ...-nIUI "In

The bineS! ""takncss is Ihal lhe~ is no ""I'ffl 'audic~

rroml

Our goal muS! be 10 kp the audience pl~ascd . hul lbo e.,cil~-d. ''''''''m.-d. ~",.r. c,p.x-ial1y. "\J!lIlerin~ wh~1 i, soing 10 happen nCXI . "'hi~ ".. ill takc pla..c on l) if tM ~udienec i, involve,1 "illl In.- dlaf~C I~' ,\ and ..... hal IOCY are dOing . In addilion 10 an (~ci1ing , i.u~1

Th~'...,,. no ,~al ,onl1i(1 "fGood and

abIJUI llo'lt. ;,oJ il UM"d :lpeak,ng or ltom.. d;l)'. (01)' work " -as much more e~dli ng and SI,n,ulallng ., 11M: :tmm~lorS ,mprowd ,n their ab,hue' 10 handle an)' l ind of :telm,. ROIl Ikn Sharp.In fell llul """ and lhen lhe SlOf}'n'.n lefl h,s o"'n "ork 001) half done, 1 ..-rOlC, " I ~m ",clined 10 lc thmk Ihal 100 oflen people grew lScruSIO",ed 10 M""e IIr Ille ~rc"t p"rformanee, Ihal :,nimalors gac, and IIle) were conlinuall) rel)"n~ nn lhem ,n """,I iring IIIe makmll of a picture. of rcall!.'Rg Ihal. f",. 1100 of /)untbo lhaI5OOvo-S Tm~h)' MUll,., Mortling dronl The elo,,-ns h.'-e bn celebrallng and droppcoO1.,.,.." 0fI0 of lhe lop

..".... .,.

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tIfflIIJ

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.....

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,.,.w ,...,.

111' dot .""

.." '..'

-=--------'ercd Ihae the plighe of the little girl was ehe very b;tckbone of our Story. that we realized Ihat we would ha,l' 10 give up all of the byplay of the mice Vtting ready 10 go on lhe m ission. Ie juS! delayed our Vtt,ng Co the main part of the: S1ory . "!"he picture ~ interesling ...'hen I~ mice had a real problem 10 solve. and allille talk be.fore they-acmally sean ed OUt became dull, and. WOI'l'C', made later pailS of the piCTure seem to he boring hecause they repeated atti tudes we were using here , So the SCpthl '" ,Iv ffNfIt ' "d _ ... Ii,., ,0100, .. ",.J snJI" rlwv....

"""" ~""T' mk' rM~l 0'"

/t"_,,

IT"

_II.

tn""",Iv

".I'I,""~ Erk U Lady and (he Tn

P" . tit, jaJnl.Onl ond P()IlY '''amp/oJ{" rita;

""mr

RQlpIJ H"ltII-...... R""",,,,,,...Kf'1tN;

1tNJuo,

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art/WII"" Iwfor, _,It. nK"'''' f/"11$ 11l",dt' 0''''' !of,loot aJdJ ,UII... il "'P" ofd,ommir ... , .., 10" _ _ tty dull ''''lNMU of rI.orIKUrs mm"ml"_ 10/' W "_It,,e opla... 0,.,.11,OM

II IN/i,"tJbI, "'" 1M"",,,,,,, .....rkIN ''' ..... ptVSSWIU by 1_ "rrol dot'._

,,,i< _

can be

oecood~ry

.... the

pic!(Jri~1

effect . Other-

is more ;lIlere,etc"' ralher Ihalllhe "Sl l'lIight OOC5 . "There is no way !o animale Sll'OIlg .... nough alt iludes, fecling$, Ofnprtso sio'" on real isl;'; charactCI1i '0 get lhe com,"unicllion you should Ntve . T he more: real . lhe leM lalilutic for clur COll""unicalion. Th i. is more easily done wilh lhe cartOOfl char.oc:le(S " '00 can carry !he SlOI)I .... ith nlOfC illl.. resl and spiril anyway. SIlO'" w,,;,~ wa~ told Ihrough lhe nnilllnls, Ihe dwarfs. and lhe wilch-no! through lhe prinrC' or the quoecn or the huntsman. "They had vilal roles. bul lheir 5Cencs were essenlially situ,, lion . "The girl herlil'tf was a ",al problem , 001 she .... as helped by al " 'ays working 10 a sympathetic alli!lU1 or a broad characler. This is lhe old vaudeville Irick of playing the prel1y girl again.1 the buffoon : it ho:ll'" both characters. Our own f"" lings were ~ullllncd up very simply once in a 01)1 meeting; " J uSl ~ $Ure you gi~ U$ someIhing 10 animale . Don'1 give us a ~ene " 'here nothing 11;11'1'" ns! ,

Story""" Ed ""nner had an unu"u~1 prubkrn in TM LwJ, - ' 1M Tramp "'~h lho: ....... ~ oflho:~. in tilt city poond . The- i""""p.bl, filo ld il lit: pre.. ntcd,.., thai il was unmi , LobIl. few

ra'''''''

II,,,..

or.

ITlit' lI;r 1'""s~. TM I..... M"~I, ..... ~'n' >1-.;1",* dtcl>t. of dIal",,,,, and ,"itude. , '"1.0,,1;, gUYI, ,hey'", lakin' Jo.Jo.")':>n nrlic.

"Yeah, lY's lol;;nl ,ho: Ion~ ",,,Ik'" " OIl. ,,.11 . I"ity! Many people contributed ideas to thitl ""_': wi.h Wall leading t.... ,,ay . bul .he .. oryman 011 II 101 D"lmtllimll was .Ile talenled . pIIngent, imcitlle hurno.-isl from Indi"na. lIill I'~e., He shared .IOII'Ir d Waif s feelings fOf fannl~nd ~. and hi s char.>etm wm al"'ays 5Omehow reat and do ...n to-earth. no ho,., fanta!.!>c .he concept . It is amazing 1'0""" .. observation e""bled him 10 calch lhe essenct of "I'f). Ihing he drew . .... helher ;t wa, a hoxcar 00 a f~iPl train or a Bavarian dwarf li" ing untler a lil y pad. feI. 10-..' storyn.. n and s ketch anlSI lbtph Wri ...... ,,'110 . . hener kllO ...n for his great gags "' the Goofy ..._ ~ ""Ill thaI Bill ...as 0fK of.he few ...00 rtr..... up re.1. li ve charnclef1i thaI li ved and bre~thc\l . .

""'e

""PPIn.

thougllt and came from the hean of tile Stot)' an i.!." Bill PCCI alw~y$ h.ad a ~tl'Ollg, overall CQI"ICepl or tile -"ot)' IT\3t"";al IIIaI integl'llled tile lIumor in boIlI the cllaracters and the situation . Rather rh.tn s pOI pp.llis imegrity drove lIin, 10 1iC;orcll 0111 an idea tIIal lifted the s ituation OIIt of the com mooplatt. and sliI! left tile door open 10 funher development in Ihis new difI!Ction. Yel after cooceiving all this in lIis mind . he could ~jcct the cmire lIOI ion if il did IlOl work wilh tile OIher pam of Slot)' . One suell invention IlIal laler lIad 10 be diliCanlcd was bhw. the buuard. in the early versions of TM JUng/if Book. Rill nttdcd some way Ihat the bcaslS of prry could find OUt wl\at WlIS ",ing on in OIhe. p;lfU of the jungle. so lhey knew the movements of lhe hunlrr Buldeo and lhe bQy Mowgl;' l ie could have !lad them s\.llking about. jlCt!ring lhroogh (lie tall grass constantly. or lislening (0 lhe:: warning cries of SOme bird of tile Indian jungln. BUI llill found a JTIOfl' en(enaining w~y of lying ;1 alilogether. Since buzzards do not kIll , he had !shtar in [he humilialing position of llavi", 10 get lIis meals from (he scraps left by lhe liger and leopard and !he wolves . Iking cn\(rprising:as ...ell as hungry. lie promoted himself and hi. even(ual meals by u -

I""

Hill Pw pt>HS"" .. pIIMos /uno' i~B

lif,." "'" pld. dT"",.ItII. wod _

-*""'"..........

,~,

"Dry"",,.',

e...." a piau fO.II AI /rIo .i,uA ,,"lSI aM "orymalt. Bill /lad a ~";"w "". r,,11M fi..,li~1 u" m"Ndi~ i"8 ""'Y '" I~II " "laging understand. As liule as was Jhown on the Huntsman . he probably ended up with more substance as a eharacter than uer had bn planned . By M~h of the foll ...... ing year. the animation had been completed. and. as usual. several of the poinls so tboroughl)' discussed ""ere ~ coming off. Alternative ways of doing som" of the things woold have to be found. and in this transcript of another meeti ng, Supervising Director Dave Hand explains the ideas they arc considering as he listens to the reaction of !he staff. Incidentally, the hours of 5 to 6 :30 were no! normal wurting houl"$. but reflect the overtime that already was expe1 of the greal characlers owed much not onl y 10 the 'oke but to 1M carefully se:1 lcd line. they

character is not K ling. he is not Iiving.'" They Iud to Itl'lQw!he feelings that go deeper Ihan ..."OI'ds before lhe y could fine"s that developed the characters. and pantOmime that strengthened the rclationships. At that PJOnl he had a meeting. and all the ideas ....ere pre !tilted. Following thai. LaIT)" would rewrite alld Vance ~"OUld redra ...... bul bil by bil they Came together and tht result ..... as a unique. convincing sequence that fl'lbably could nol havc been achieved by any other

""'"

A good eumple of this l'ooperation is the introduc, tion of the linle girl I'enny in Th~ Re.c"as. It had in assumed thai the proper ..... ay 10 introduce her ~uuld be in a happy sequence ..... here the audience could be taken by the appeal of a cheerful. spunky child. She ..... as an orphan who wanted "ery nluch 10 he ......... ed. oot it ..... as felt that any sad sceneS would have !!lOR impacl if she were secn firsl in happier circum.\IanCeS_ A whole sequence was ..... rinen. sketched. and iW1ia1ly animated of her on a visil to the .no_ Il'hen it waS discovered latcr on that the pathos of

the little girl was the very heart of the picture. all of us decided her introduction shOUld be in a situation with a strong hcan-lUg right from the stan. We wanted the audience to become involved with Penny and her feel. ings "'l quick ly and forcefully as possible. SO our first sequence of her became the one in the orphanage right after she has been f>35",d OVer for adoption. In the story meetings. we had conside:d ha~ing Penny do a linle act for the prospective pal"rding 10 hi . own per:sonality . This was real char OCler atling. and it ....-as all soeasy when Wall cxplail'lOd how il should be . It could be funnier . Of " " " " ~riou$. or more fanci ful . bul the c"""ial ~Iationships had been

~

.....

...... (! .. ~6:

.... .....

~

_o ~

"'-brF.M1M "tiUisAWal,~_

""

......

d"urd

e5tab1ished and the c,;'ici~"'s now ~ . U minor in tern,. of chiU'1lCler deV('lopmcnt Without Wall's ;nluilion. how ,k, you build a char...cter'! How do you reter. mine wltat is imeres!;ng? Uo w do you koow if il is right fOl' your story? An .nicle by dnuno critic Charles Champlin in the Un Angtln Tlmu teUs how John Hun went abot.. charaf);", ~~ In coding. II was Wah ""00 asked lh31lhc roy JO inlO !he village through hi~ own choice rather "'"" because the aRomals knew il ""as the nght pIICt fa' him . Jt gaV1: lhe IICCessary light touch 10 cod !be pe. ture on a happy nole. Tire J""gl~ 8oo1e was the fir>.! picture Ifler SWhiretel"$ $(I dominanl. The audience undtrslOOd'characlen and idt:nlified with whal each was "Y',",," do. Every 5eqllCoce g3vC'ver has to shoot or throw hi, ..,.,igtM around LO ,how " 'ho he is-everyone knows!" Ho,,'Cver. we wanted nlOl'C d an and favored an aristocratic. "'gal monarch, SO we made some draw inp of a tiger reminilCent o f Basil Rathbone . We "'-ere dc'-eloping a villain ""00 had only disdain for his vktims and " 'ho ,,'as confidcm to the point of being art'OI!an1. This was getting Ixttcr! In fact, C011il would be a good t",it. s ince he had to be dcfuted somehow by our hero. or combination of heroes. Ne~nheless, by the time we were ready 10 record a vni . ..,., fell that the imellcctual ",finc:mem inherent in a voice like R~thbone' . would no longer be quile right , We found the perfCCt combination of trail. in the voice of George Sanders, He " 'as the ullquc!otioned king of the jungle.

Bill Pm',

,

.. "

,

II is easy 10 see oow a comic villain can br and a dramatic onc Ii . but a mOre diffICult lengc arises .... hen the visually diSlulbing, In addilion to the normal of making him or her convincing lhere is the increased burden of designing an in a way not only KCeJ!lable 1101 IIjaling. OUI appeal. no one ""iII respond CnouglllO involved .... ilh cither the c haracler or lhe 51"'Y. SQme c realures, Ihis secms impossible . Whal iflte supposed to be revollin,? Fearsomc:? Lo"h~" WIuoI if he i5 snakc? 1$ il I",..ible 10 rrW~~ppc:aling?

;"'.11

I.

I

a competent. inteliigent . conceited Itiller " 'ho never

had 1 0

~Iaver,

or

growl ~

In 101 DO/millions. the same type of decision wasmatlc in determining how bmad the villain could be w'choul upsetting the Story conccpl. No onoc: ever doubced thaI Cruella deVi' actually would skin those

In the following pages wc physically tWO villains who star1C(\ 0111 lrolCe yet lhey grew 10 be among our roosl lovable?) characlers . This was accomplished by"",," bining the elcmcnts and principles ""e have disawet ioIOI"Y. charxler dcvelopmellI. ,~""w ~.., emotions. l1Icre wcre dark days of doubt. and IIlOIIIi disappointments than nee without eban,IRC a linc of di"lo~ue or lhe 3ppe~rance of a d"'I'Itng. nUl !lone of lhese IUilS al""" was cn1enaining eoouj!.h. nor did any or lhen. ~lIm ula1e 1he I n11l1,,"s. II ..... Slcrling Hollo"'3), "00 finall y Came up with lhe pr0vocative voice aoo altitude Ih"l ~par~ed us all lie 1101

0lIl)" g",~ a re;oo,hng that " ..... the charnete he ""as able IOWuc>t line.' that "'"OUld fit !xue. wilh Ihi ~ evoh'inl', rcr;or1 ~l ily . When K hears Bagh~'C11I tcllthe boy 10 rolO ,I ... p. Stc.ling ,uggcs lw. in a s ing_wng)" voice. "Y~ ss . mancuh. go 10 .+slttp! w'hich led into ~ h)"pnoIic Sl~"", When Ihghttn. hi. him in the moulh. imleod rof '0011. I\< ,w dare yoo. lJaghecr-.!' il \>teanle. "Ooh. my s-s si n" .se~- r1d " '35 tlx> world "f ideas. He wa$ no! a cl(no.n or a clod. a~ a no ful iUSptll"" in Prioce John s many . tltmpls 10 calch Robin. They art: .howca:;es for the histrionics of the IWO vilr.",OlIs ilClors who ix II!.: pia.... "f a" a .,.,~. hi: ," i"~,,,t 1(1 t>ff u[>eclcd bl(l\\', rmm Pri nce J(llin , He ,..", l'i" c n llh bcraui>w

..",.. 0/ f of,1thf\lt h;tact

,X/'n",

,n

"",I"

,~/ul.

i~6.

_ ..~

blMt

Mil

.k

,/t, For,~~

/jul, ~i'l ill 'The Jun Book Ious ioul move menl . Ho,,~"cr. lhe ~im plf ~il ion of a blink during lhe: kuId m;aplurn lhe " ' -;ng qualily . kping lhe: ~~lahlfS from ruliz;n~ ~ i~ only a dn"'ing afier all . Blinb ",ill makc a big visual change ju>l by lhe d

,h,

,h,l,f'

.. .... lid _,% WCl"f 1*Ik' "la. l}, >timulat ing as he \bcrib.:u _hi"" 1(1' lIS His actin!! st...r.-(U the ba'lic humor in the but the acthity in his fa.:c ,nspirro c'~ry IftifllljOl. His brows " 'ould risc hill h in one 3ttit. . . the. AlII denly plunge down into a deep frown. " ;th the c~ pushing against the c)c . gi"i ng an imen>c , pilll"ins qualiry (0 hi s look , The n ;\ch by phmning ~Iorics Ih~z dcm;nd.!d a ,not~deli~n)' .

.0

convincing type of ICling---{lot illl the way thr1lrIp. bUI in k(y ipolS. Th~ Fiyi"g MOllu. ",lei'Sed iIII9l4. show'cd new O realited thaI too m.....,h 11)0'=1 on lhe eharacler made il impuuible fOf the audience \U see the upre u ion on hi s face, In looking back at SCelle$ 11Ia1 had been successful bef~ , lhe animalors ~ lhe idn of phm;ing lhe aclion in ICrms of the phmoes of dialogue . When the fairy ;n TItt- f'i."intr ,IItJUllSC, ruu'"c httn kiTKItD me, I'll gnnl one "'ish, whal shall il b.:?" the

aninl'llur tl;od ...cd ~ diffc",,'" h..dy ... t'lude ';ndn!! . Here arc sonlII. ",in. a p;o.norama . ",,;ome ~5 ill. room Ihll baye I spe :. Fm~l TIrOl'lll' Cill'krt lla.

of hi. actions u wcl l as ho.... broad or

...un

Olli~ JoIt~SII_

Robin Hood .To W wlin""bI~. ,,", II", m o'lr~r had '0 M muchs'rai~h'''.c",I",,~ ,~ .

R:SU1IiIOed they mighl be . "Iller will affect whet~ he IIIIOYe$ continuously or pau~s and then con1inues . Lislen to dialogue carefully ; "'l im 10 tht thought. and idras-chey are your d",,,*,le" ,. He is thinking them. IIId you mu>! Cap!UR them. ~aps then: is a manne ris m thaI wil l fit and .w:I life. It cou ld be a thoughtfu l movc o f the cytJ. a .rnl glance. the tong~ moying across 1hc lips. lhe WnctC1' pull ing on his clI in. or pushing lhe hair OUt Iof his eyes. Any of lltest and OI her similar aC lion s , an become pan or the u)lrCssion if chosen ,arefully . If tilt JC1Q1' doolli lhe Vice h.s de' , 2. Avoid looking up for a frown. unless it is a sinister, domineering one. 3. Do nOl hide a smile with the head tilted down too far or behind a big nose or moustache . 4. Be sure you have the right staging (0 show al/ the expressions in your scene to best advantage . 5. Have you the right expression for what your character is thinking? Arc all pans of the head and face related to this one idea? a. Do nOI change shapes tOO much all over lhe face. b. At ti"",s. hold oown ac(ivity on the face so that j ust the mouth is movi ng. 6. As we were told so many ti"",s before we learned: 11 is the change of shape (hat shows the character i, thinki ng. 11 is the thinking that gives the illusion of life. It is the life that gives meaning to the expression. Saint_Exupery put it so beautifully in his cla...ic line. "1I' s nol the eyes. but the glance-nOlthe lips. but the smile.

,,'

,

17.~'jth

Acting and Emotions

"In uwr (mimation we mllSI shol'ed. We also have pointed out many eumpks of fine animation that becal1le memorable bcf Ihe an iSIS' limited ahil ilic:I. WOfkin~ wilh lhei, c rc"s. Iho y .searched for easier " '3)"$. simpler wa>'S . s tronger way'. trying 10 find tl!.: essence of the emenainmcnl in the . .. tnt) Ihey Wt~ doing. And Ile,~ the)' ~i~t""c,,,d that intre~~ ingly their problems were in the field of acti"il _ Seve",] people It the s1udio e"",lled in :\c -ou

the p'sturn arwJ ~lIXnt~ ~m sinn: . Wlwincin&, clear and properly nl(Jli""ted1 l)roes lhe actiun help to delineat" 1 charac 1M: ltl> and lheir s;Wali"n for you',' I) the ao:;tion clearcut. realistic. prolonged suf fICiently, and eu~cla!W ("""gh to be seen by lhe "''-ok audie",:.,?

*" ur

Undeniably . the,., are the criteria for judging any pe1"flllTnallCc. aninlaled .... live . They sou nd ,;0 si mple 'riUen thi~ way . and an; elL'y to pin up on "",,' , o.>k- bu l Ii01 no one could devio;e. way to cr!'ttled (or moiSl ~y~5. ,,tlkh they could do "cry eITli,-el)". and lotS of 1o'~I~. shinong tears running do"n tlK c!ltt ... _ ...llIc"" dcIt. scorn. h,llemess. or cnvy " 'ilh only facial

e~pss,on.

the

~tory

feelin~s in .... hal he doe> and ho"" he does ''''-'~~'ooJ the clO!;C-lIpl only for cn.phasls--tbc ~no:~ ~ Irlppong and cnleruining

lhe antmalOr ",n be qu!!e hmned is bu,lt so that the chal"Kler rel'eals

inner .trogslc. becau( There is an inherent .:oroc,( rommunicauon cauj:C Ndly and lose credibihly MOIl: t 109 and c1pen analySIS often ,s Jleeded to keep

::~":'~"i';'~'~1~~'~'~::~~~

feeling of s ioccrity . A spedal effort on::::~ fW1 is ",qulred to find JU>! the rilhl =1Ie$1O the Ilt'e'ded CmotIOllS. bul II is ..-orth !he dfon queen inS"",,' Wllllt'",-u ~ndled was Ihe stepmother in Cm hn tkJi,,,:

if sIN IrDI H~" """" oJ "';,Ir 'M - - ' ~J ill ,""'" sJoDpn ,...,. t I r - rI~ _14 Iur.e """ ,." .

on Ihis meliculous Iype of work. Ihere was 100100 way 10 do it . As the anilTUltOl'S slid. " No fun 10 do. but nded for the pictu~!" Makrlm\t.\he evil fairy in SIffpi"l 8~, ~ lief redinp in a II'IOR dramalic mel flamboyant "''lIy. ~ Ihc: "yle of w whole plUeflUlion relied on design. roIor. and ~geanlry. This WIS renIN in her _menls, which gave the anilTUlLOr slighlly more lIIilude and freedom. bul it was Sli ll an eI' ,h"",,,. ,,1I11r< ' J,'",,1. TI", ;, I~",;,- "I"d, '''". ,d,,,~ ff"'~'C '"

",,1.,111. ",., ",.,.. ,m old ,

lI"~ "H~ ,,,..II,,,,,,'~I ""111~ 1/"~'IIA,-,,',I ~

," A

'I""""

"U all"IC".s Medusa aoo ,1.,,.-1)' .. ~Il"'j! up the >Uin 10 ,lie ,.....; k . Slie h3' ju,. h.,,,,n I>;Idly hUll by Jolcduu'. ,,~UI)U ' remark ... WI." ",w~ld ",;"" a homely linlt rill like you?" "00 is tl~h"n~ i):Id tile t~ar< as..t1C .."Ib "", inll) the nig:hl. II w~' (k~ ,d(",1 thai lhe n",,' .ffeul,1 cn;'"c. and ~"'" _ ,ilhoucm' lream",,,, .. ouk! nul have ~en lilr be>! "'IJ ",Iher. hUi ",,'e ,(ill ""ure I>bnd Oibm on''''re("',n~ boy. are chant-..'1l mlo d"nle)" in pay. . men! (!'Ir a mgh! of run "fhl>" a ,' be ... he", e.cc1leit i,ni"'J""" added e'~!'1 111"", Ihan had Ix..,n rx~. hut II w," the cOI"bin;III"n ", II", ,,,,gin~ and pl"nn;1ll 1!l al lIIad~ Ihl> im[X,,,,bk ,~lInation "" bclicvobk and ," """"Y , The n...... lhad I>,,~n "~IIC,I "'llh lbe ""'.... ," ~~ ~ I,,~o,.t ,t.;'l"'le", ~II bl..::~ . I:.,b" "'.km ....

.it,..

,r

t.

"r

Cn,alton of the dr)' moulh r".... ILiI e ~!",,,,,,, apl""h~nsion The ",US"""",, 011", WJI/iI:( matk an .. roormous comnbuhoo '" hen 1M: 'tt:Oi 0; khabod

,,.,

,d ~'ilir i'"'' b,;,h ;J rid"

iclli" I,; ~""", 1M ,,,,,r/'

""""'~ . A~i""no' "'jw,,"ilory together so lIAl the broad chanctcf$ surrouoolng them could ...t Thr;c tWi) character~ had to be convirn;ing for tbe It>! oI'!IIt C~St to he emcn 3l11ing. A Mern ""gnme nc !lut Irno one: believed lhe s.rn;crjly orlhe dogs" concern" 00_

\

_OIIk1t1C'loe'"e CT\lelia And ,f 110 one took her "",OO)Us I). >lie ,,'ovld 001 be M"lIa,n" The ""'Iuence had 10 tIC' !he ptUa1l~ would ""paratt the.- hod,ng ~fllol" from Pon,o. ,,100 "anted 10 he.-lp betl did 001 know 100" The prl'scnl" 1100 " 'as ~,mple and unCcurn:d 10 anyone Ih~1 !IllS .. ;as a rcSlrlo;lw or subtle Kene ~ cOftCcrn of lhe o:Ioj;s for each Olher, and for lhe,r unborn pups, was ,II anyone: saw, Once the came", was under lhe SIO'" e, il w,~ poMibk 10 Ilave a hnle ml'IK rtIO\-cmcnl on ~rdlla SnlCe ihe new angle 'IS no( so rcslncllvc She ... hflw her head 10 ,"Ilalc, Iookw awa)" and ~k oo..-n In do:fealw ligh . Pon8'l rcachcd 0\11 and hckw her

genllyon lhe ch~ The: ~udlC:,," Mhe~cd lhern bodI ~Jld fchihe warmlh of lhe" rdallOlllhlp. 3'i "cn II lhell cono:em for "halihe fOlUre nughl bnng OePlCllnlllove bel ..... ""n I,,-ocanoon ClwaciCr! 1$ .... more dimcull lhan w~rrnlh; II is possibly lilt froOlIt elo.i ,-c (",Ollon 10 ponray l. i~c the ICnlllllOli III waoruh.Io,'c IS buill alnlOM 50Icly Ihrwllh lhe aruJIII lor'S personal fedlng . ' Tramp ",,,/ L:,,/y, J,,/mI .. "",...;"',, , '['rill' ","1J",~

FALLING 11\ I.OVE Tlr.

do~

oj ,/" "'r/of. T"''''I' ....

Lad)'

'''xl t~. Tramp.

f""";'"

w'r.

.7

."()"n,~ I"d," f rom ~ .1t~1,,...,d Ixu-t,~'''''1Od

Ji"" ,,~ I'["ct- lH'h ,,,,1 " rr,W",,'G'"

Iru"d,,~1S he ~~pea> , Ih. ,,,,,,,,mi,-P"QI""~'o.- a..J hi, ,~" .,' ,hem Ihe 'r'~0 that she )!,lId no! tome ~n)' cI....,r [0 hIm . Onl)' tile,. nllnh could reach fl( enough 1o touch an