Friday, May 27, 2016
We know that animator Frank Thomas was responsible for bringing Captain Hook to life with nuanced as well as broad acting. Frank would say that it took him a little while to find the right balance between comedy and villainy. Actor Hans Conried provided live action performances that served as a springboard to rich character animation.
Originally it was Milt Kahl, who thought he would be perfectly cast on the character. He created model drawings like these that show how he would handle Hook in design and animation.
But in the end Walt Disney wanted Thomas to take over the part of this villain, even after Milt had put down some of Frank's early test animation. Walt knew that Milt's talents were needed on the film's title character...and the rest is history.
Frank's acting on Hook is superb, we constantly know what the character is thinking from the first time we see him in the film. Here is a link to the clean up pencil test of that scene:
Occasionally Frank asked for Ollie Johnston's advice when it came to finding the best staging for a scene with Hook. The note on the bottom right says: Ollie did this for me.
John Lounsbery animated a few Hook scenes early on in the film, like this one, when Hook calls for action against Peter Pan, who has just been sighted.
Beautiful rhythmic drawings.
Woolie Reitherman focused mostly on action/fighting scenes. As you can see he is in these two roughs, Woolie is full control over the charter's broad motion range.
But...Woolie was perfectly capable of handling the occasional acting close up. Most Disney animation aficionados credit Frank Thomas for animating this extraordinary scene, but this is Woolie's animation. It is seq. 14, sc. 79. Hook climbs up the rope ladder in pursuit of Peter Pan: "Ha, ha, ha, you wouldn't dare to fight old Hook man to man. You'd fly away like a cowardly sparrow."
A film frame from one of my favorite Thomas Hook scenes. A controlled pose just before he is about to explode in response to Smee's suggestion that shooting a man in the middle of his cadenza ain't good form.
More on Hook here:
Tuesday, May 24, 2016
I don't know what Frank is working on in this photo, as he poses with the Oscar the studio has just won for Winnie the Pooh and the Blustery Day. Perhaps a gag drawing, since the main production at the time was The Aristocats. There are mounted character sketches of Scat Cat on the upper right corner.
It is always interesting to take a closer look at Frank Thomas' rough animation drawings. Unlike some of his colleagues, he rarely thinks about creating a graphic design in his drawings. The source for his inspiration is strictly the character's personality and its entertainment value in a particular scene or sequence.
For his rough animation pass, he would do more drawings than most other animators at the studio. More often than not Frank created ALL drawings for his scenes. This meant that there really wasn't much time left to finesse each key drawing to perfection. This is an animator with the conviction that each drawing is part of the overall performance. "Suitable for framing" was the farthest thing from his mind. As a result many of Frank's rough animation drawings look "less intimidating" than -let's say- the work of Marc Davis, Milt Kahl or Kimball.
But make no mistake, a Thomas pencil test has a magic all to its own. The quality of the performance as well as acting choices appear completely natural. The character lives on his own on the screen, detached from an animator's creative process. A tremendous achievement.
Ollie Johnston and Milt Kahl drew Mowgli in a more appealing way than in these images, but the scene's motion feels like real life. A kid trying to get away from a Python's grasp, everything has proper weight, timing and most importantly - emotion.
Frank did all drawings for this King Louie scene in order to control the subtle, musical bounce, as the character turns his head toward Flunky, who mimics his singing technique.
Assistant Dale Oliver cleaned up the loose drawings on new sheets of paper.
A simple character sketch of Edgar from The Aristocats. This single drawing doesn't sell the scene, but in sequence with all the other drawings magic happens.
One of Frank's last scenes before putting down the pencil. From then on teaching Disney principles and philosophy (through books) became the focus of this master animator.
A list of Frank's animated achievements as put together by The Disney Archives years ago.
Sunday, May 22, 2016
Friday, May 20, 2016
On Tuesday the Walt Disney Family Museum in San Francisco hosted a reception in connection with the opening of a new exhibition which sheds light on the production of Walt Disney's crown jewel Pinocchio. Several hundred pieces of original art are on display. Here are some of the highlights:
- rough animation drawings in sequence by Bill Tytla, Frank Thomas, Milt Kahl, Ollie Johnston and John Lounsbery. Monitors show these drawings as pencil tests.
-stunning production backgrounds as well as cel set ups.
-enlarges wall-sized storyboards
-vintage audio of Frank Thomas lecturing how (and how not) to animate the character of Pinocchio
This is a breathtaking, world class exhibit, curated by John Canemaker. It will run until January of next year. So, plan a trip to the Museum and prepare to be amazed, enlightened and inspired.
Here is the official link:
The two pieces above are not part of the exhibition, but the model of Monstro, the whale, is.
An unusual magazine article to promote the film's original release. It contains more than you ever wanted to know about Pinocchio's conscience Jiminy Cricket. And no...Jiminy is not gay.
Opening night: the Museum's executive director Kirsten Komoroske, Ron Miller (my first boss and Walt Disney's son in law), John Canemaker and myself.
For a Milt Kahl pencil test from a previous post, go here:
Wednesday, May 18, 2016
Here is part II of Milt's incredible scene which involves all four vultures. Those two posts only show a few of the main key drawings. From what I can tell, Milt did about every other drawing, twelve drawings for each second. His assistant (likely Dave Michener) then added in-betweens, so the action would be on ones, resulting in twenty-four drawings per second.
Whatever you think about Milt Kahl as an animator, that man worked HARD! Not only is the intricate animation perfect, each single drawing is a masterpiece in design, and so full of personality!
Monday, May 16, 2016
I am not sure who painted this color key for the opening of the vultures sequence for The Jungle Book, but the dark mood beautifully represents Mowgli's emotions. He is wandering alone through this part of the woods, before the vultures spot him in the near distance.
Milt Kahl animated all introductory scenes of these birds, and the following drawings from seq. 9, sc. 20 represent a glimpse into the mind of an animation genius.
One of the vultures, Ziggy, encourages the other three, Dizzy, Buzzie and Flaps to fly down the tree in order to examine this strange looking creature, which is walking on two legs.
"C'mon, lads, c'mon! Let's have some fun with this little fellah, this little blokey."
During this line of dialogue Ziggy moves toward the other three, repeatedly pushing on Dizzy, until one after the other looses their balance and stagger downwards.
A "tour de force" scene, to say the least. The overall motion is all on ones, as one bird after the other is being affected by Ziggy's pushy moves. A friend of mine commented that only a mad man could put all of this together and make it look natural.
This is why I love drawn animation, there is nothing like it!
Part II of the scene coming up.