Thursday, June 22, 2017
Fifteen years ago the film Lilo and Stitch had its US premiere.
Thinking about this movie now makes me realize that it turned out to be one of my favorite projects I ever worked on. The story and the characters are highly unconventional yet very memorable and emotional. I remember that everybody who worked on the film felt so lucky to be a part of something extra special. (Just look at this breathtaking background.)
Lilo and Stich touched many people. People who identified with situations that had never before been portrayed in a Disney animated film.
It touched me, too, as an animator. I remember tearing up a little while working on certain scenes, like the hammock sequence. How crazy is that?
Read this just published article by Damian Alexander for Teen Vogue. It shows you what an impact an animated movie can have.
I haven't watched Lilo and Stitch in many years, I think its time to take a break and revisit what we were doing at Disney over fifteen years ago.
Wednesday, June 21, 2017
These are design sketches by Milt Kahl, showing construction and anatomy of Smee, a character that was animated and supervised by Ollie Johnston.
These all come from Ollie's estate, they are drawings he kept after production on Peter Pan wrapped up. The power of teamwork! Milt's solid and inventive draughtsmanship and Ollie's superb acting.
You will find a few of Milt's draw overs for Ollie's shaving scene, which I featured in my last post.
I have animator friends who's favorite Disney character is Smee. I can see why, his animation is influences by Fred Moore, Ollie's mentor. But Ollie goes further in his acting, he hits a high note as far as his animated career. There is a Moore fluidity in the animation, but the acting is all Ollie.
Sunday, June 18, 2017
One of the greatest acting/comedy scenes in Disney Animation.
That's actor Don Barclay as Mr. Smee pretending to give Captain Hook a shave. Of course Smee doesn't realize that he is actually shaving the rear of a seagull.
Ollie took great advantage of the comic possibilities. The staging is hilarious, I have no idea how he came up with Smee's exaggerated poses during this dialogue scene. And his face shows amazing flexibility and range. I love the nervous acting as he adjusts his glasses and pulls on his hat when realizing that Hook's head is missing. This is definitely a scene worth studying frame by frame, the timing is ingenious as well.
Ollie had Milt Kahl go over some of these expressions. I do have a few of those sketches and will show them on my next post.
Friday, June 16, 2017
I love publicity photos like this one, where you see the voice actor and the animated character in one picture.
Andy Devine voiced the character of Friar Tuck in Disney's Robin Hood, and you can see how Milt Kahl caricatured the actor for the final design. When drawing a portly character there often is a choice to be made as to where to draw the belt line. Below the belly or above. Of course Milt made the right choice to have the belt up high, unlike his early design doodles below.
I mentioned before that even though Friar Tuck is supposed to be a badger, he doesn't come across as
one. But the overall design as well as the acting work very well for an animated character who happens to be a clergyman.
Rough animation drawings from one of Milt's scenes of Friar Tuck. Here he is interacting with the church mice.
Wednesday, June 14, 2017
Some of you might have watched the Bambi Milt Kahl pencil test I posted a while ago. It was his rough animation of a scene which does not appear in the movie. A few days ago I came across these photos taken at Disney's Animation research Library. Those drawings above show that Milt's experimental scene made it all the way through clean up. And who knows, perhaps through color.
Cutting polished animation or even color scenes is very costly, yet it happens on almost any animated production. Something I try to avoid on Mushka.
Here is the link to Milt's rough animation of the scene:
A couple of different models made for the animators to study. One shows the motion range of a fawn, the other one is a realistic depiction
Tuesday, June 13, 2017
This is a "rough" idea for a poster for my film Mushka by Peter Moehrle. Train travel is an important part of the film, and this image certainly represents that. Peter did refine this design according to the visual style of the film. I will post that image soon.
We are currently deep into effects as well as final color, I couldn't be happier. Everything is looking amazing!!
Saturday, June 10, 2017
Another beautiful scene by Milt Kahl.
This is sequence 2, scene 118. "So, I am going to be your tutor." Merlin proclaims to Wart.
The wizard opens a book, before proceeding to clean his glasses. The main business here is the subtle action of Merlin's hand using part of his moustache to wipe the glasses clean. It reads beautifully, because Milt played down everything else in the scene. It teaches us again that if you want to communicate subtle movement, it needs to be isolated. Nothing else should move.
The idea to use the moustage to clean Merlin's glasses is pure Disney. And Milt staged this exquisitely. Study Merlin's hand, as it wipes the glasses. Awesome!!
Wednesday, June 7, 2017
Monday, June 5, 2017
This was a fun exercise I did a while ago at Tina Price's Center Stage Gallery in Burbank.
We drew grown house cats as well as a couple of kittens that day. After doing this for a while I asked everybody to use the cats' poses, but beef them up as tiger drawings. You'd be surprised how similar the overall body rhythm is between the house cat and the big cat. These are the few sketches I did that afternoon.
I love exercises like this, when using your model as reference for something different.
At Disney I did this with Yzma from The Emperor's New Groove. I studied model poses from fashion magazines to inspire poses for Yzma, who is of course a very old woman.