Tuesday, September 13, 2016

"Cool it Boy, unwind Yourself!"



Animator Eric Cleworth drew the first few scenes that introduce the character of King Louie in The Jungle Book. But it wasn't until Milt Kahl animated this moment, when Louie picks up Mowgli off the ground, that the animation shows real personality.
At the start of the scene Mowgli is yelling at a bunch of monkeys, who had just dropped the kid to the floor. King Louie is watching this for a while, as he scratches his back with his left hand. He then puts his right foot into his mouth, thinking something like: Now what do we have here?
Milt takes full advantage of the comedic idea that with a big ape hands can become feet, and feet can act like hands. (Milt later animated the scene in which Louie stands on one arm, as the rest of his limbs are pointing at himself).
You don't see the scratching hand in these rough animation drawings. That piece of action is on a different level, as is Mowgli. There is a nice balance in the character's movement. As his upper body moves downward, his rear goes up, before Louie lowers himself into the throne.

These drawing copies come from the estate of Frank Thomas, who used them as reference for his own brilliant animation. Frank animated most of King Louie during the song "I wanna be like you."














Sunday, September 11, 2016

Behind the Scenes of Jungle Book and Aristocats




Some wonderful never before seen photos featuring a look into the production process of The Jungle Book and The Aristocats recently surfaced on Getty Images.
The pic above shows voice actors Sebastian Cabot, Sterling Holloway and Phil Harris during a reading or recording session. Bagheera, Kaa and Baloo in the same room!
Clint Howard (director Ron Howard's brother) is lending his voice to Colonel Hathi's son.




Background painter Al Dempster is arranging stunning Jungle Book backgrounds on story board panels. 




Ollie Johnston animates a scene with Bagheera, the panther.




Director Woolie Reitherman, John Lounsbery and a couple of assistants are reviewing pencil animation on a moviola.



It turns out they are looking at Lounsbery's fight sequence with Shere Khan and the Vultures.



The same group is inspecting Jungle Book character models, which were used to promote the film.




Al Dempster is inspecting a cel from a King Louie scene, animated by Frank Thomas.




A cel set up featuring Mowgli's confrontation with Shere Khan is being reviewed, before being sent to the camera department.




Woolie's mind is already on the next animated feature The Aristocats. He is looking at Ken Anderson's character research.




More of Ken's work is being discussed.



I don't know when these rate photos were taken, but my guess would be sometime in 1967. Jungle Book wasn't released until later that year, and Aristocats was in pre-production.


Thursday, September 8, 2016

Fred Moore's Legacy



Yesterday was Fred Moore's birthday. As Marc Davis said once: "Fred WAS Disney drawing!"
Ollie Johnston talked often about how much he learned from him, while he was Fred's assistant and during the years that followed. Kimball, Frank Thomas and Milt Kahl had nothing but praise for Moore's work. No wonder Walt Disney sent most of his animators to see Fred, in hopes that some of the genius would rub off on to others. And it did. Because of his gutsy use of squash and stretch and his dimensional, appealing drawing style, Moore established what Disney characters (the cartoony ones) were made of: some kind of doughy, squishy substance, that is enormously fun to watch in animation.
I would say that his type of drawing and design influenced Disney's features from Snow White on, to Pinocchio, Fantasia and Dumbo.
By the time Bambi went into production Milt Kahl had taken over the role of the studio's drawing policeman.




Here is a "Happy Birthday, Fred Moore" post from a few years ago:

http://andreasdeja.blogspot.com/2011/09/happy-birthday-fred-moore.html


Tuesday, September 6, 2016

Milt Kahl Wire Sculptures Footage



These few scenes, showing Milt's wire sculptures with some dimension, were filmed at his home in Marin county. A little bit of the footage made it into the final 1/2 hour Disney Family Album episode, the rest are outtakes.
I wished the cameraman would have circled around the sculptures more, since that is the best way to show real depth. Nevertheless, these pieces are full of elegance and intelligent simplicity.
Just like in Milt's animation drawings, what he leaves out is as fascinating to watch as what he puts in.


Monday, September 5, 2016

Walt Disney Goes to Work...



Photographer Alfred Eisenstaedt spent at least one full day at Disney Studios sometime in 1953 to document Walt Disney in action. I just love the two pics above, as Walt is entering the animation building. His animators are still working on Lady & The Tramp, but he is off to a story meeting to review material for the next feature Sleeping Beauty. What a great shot below, I recognize director Wilfred Jackson, John Hench and  Frank Thomas among others. This is a real meeting, not staged, the photographer was a fly on the wall.
Some of these pics from Getty Images are low res, a few are high res.




That's Frank Thomas on the left, and story man Bill Peet on the right.







A great photo featuring Ken Anderson, background painters Thelma Witmer and Claude Coats, and also director Ham Luske.



Milt Kahl was not at the meeting, downstairs in his office he is going over John Lounsbery's work.
Here he is drawing the policeman outside the zoo in Lady & the Tramp.



I can only hope that over time more photos like these will surface that document the daily "routine" at Disney Studios. They provide a fascinating glimpse into just how these groundbreaking films were made.

Friday, September 2, 2016

Kahl Drawings for Sleeping Beauty



The rough sketch above is from one of my favorite Milt Kahl scenes. This is Seq. 13, Sc. 53.4, and the Disney draft says:
King Hubert gets angry - he is about to smash his crown. Prince Phillip grabs the crown and tries to calm his father.
Hubert: "No, no...you can't do this to me!...Give up the throne...the kingdom...for some... some nobody! By Harry, I won't have it! You're a prince and you're going to marry a princess!"
Phillip: "Now father, you're living in the past! This is the fourteenth century! Nowadays...
Hubert: "Nowadays I'm still the king and I command you to come to your senses..."

The scene is a little over 30 feet long. Hubert's anger outburst is beautifully animated, great poses, great timing. Phillip grabs the crown out of his father's hand just in time. I highly recommend studying the scene frame by frame.

The following three drawings by Milt were done for John Lounsbery scenes to make sure the character stays on model. Milt animated the first half of the kings' drinking sequence, Lounsbery drew the second half.








Milt didn't animate any scenes involving the three fairies, but he did sketch this hat treatment for Merryweather and gave it to Frank Thomas.



This is a rough in-between for an early scene that was cut from the movie. At that time Milt drew the Prince with a sharp nose tip.



Design ideas for Fauna. The sagging cheeks were later eliminated for a simpler facial appearance. Beautiful arrangement of shapes, but I do prefer Frank and Ollie's version of the character.




Tuesday, August 30, 2016

The Way Milt Kahl Draws




When you watch Milt draw some of his characters at the end of his episode from The Disney Family Album series you can't help but feel his intense concentration. He was interviewed and filmed in 1984 at home in his Condo, just north of San Francisco in Marin County. Milt hadn't drawn in several years, he left Disney in 1976. Nevertheless, full of self doubt feeling rusty, he gave in to the show's director Mike Bonifer and sketched in front of the camera.
The footage is of historical importance, because it shows Milt's unorthodox way of drawing. He throws in a light circle for the main mass of the character's head, but then goes straight for details.
The order in which he puts lines on paper is completely absurd. He finished drawing Pinocchio's head, before moving left to define his finger, which is on fire. The connecting arm was drawn in much later.

Milt's assistant Dave Michener told me that Milt stared at blank paper on his desk for a very long time before then quickly animating his scene. He literally saw poses projected on paper, which he then "traced".












Her is the link to The Disney Family Album Wikipedia page for more infos on all episodes:

https://en.wikipedia.org/wiki/Disney_Family_Album


Sunday, August 28, 2016

Rembrandt Bugatti II




It's been over four years since I put up a post on the great Rembrandt Bugatti. Time for another look at this unrivaled master of animal sculpture. I consider any of his sculpts a masterpiece. Who knows how his art would have evolved and how many more gems he might have created, had he not taken his life at the age of 31.

here is the link to my first post:

http://andreasdeja.blogspot.com/2012/02/rembrandt-bugatti.html
















Bugatti was a master of the human form as well. Below, Reclining Athlete from 1907.