Saturday, July 7, 2012

King Lion




He is referred to as King Leonidas at the Disney Parks and Consumer Products, but in the movie Bedknobs & Broomsticks he is simply King Lion. (Not to be confused with the animated film I worked on).
These are a couple of model sheets Milt Kahl created for the character. In those days he did his design work with a felt pen, then added either grey tones or some color using Magic Markers.
These are beautiful drawings, though I would have liked to see a new design for a Disney lion, instead the reuse of Shere Khan's facial features.
But I love the way he moves, so much weight in his walk, like the scene when he comes on screen for the first time.


This scene can be seen toward the end of the Soccer Game. The Soccer ball is loosing air and flies out of control. It "gooses" the King, and this is his reaction.
The first two images are copies of actual animation keys, followed by original rough drawings which Milt discarded. He changed the landing slightly for the final version. But this is great raw stuff, from Milt's brain right on to paper, his first pass.







Wednesday, July 4, 2012

Bedknobs & Broomsticks



I love the animation sequences in Bedknobs, but I haven't been able to warm up to the film as a whole. The more I am wondering why, the more I realize that the problem is in the writing. 
The live characters don't seem to like each other, all the way through the picture. Even the children always argue with one another. There are no appealing character relationships in the film.

The animation, directed by Ward Kimball, is fantastic. The soccer game is great entertainment, partly because the animals use their physical attributes to play the game. The elephant goal keeper uses his trunk to shoot the ball back into the field, the gorilla hangs from the goal's frame, the cheetah runs so fast, his feet catch on fire, etc. Every animal acts according to its specific species. Pure Disney!

Milt Kahl designed the whole cast and animated most of the scenes with the characters you see above. Ok…the bear looks a bit like Baloo and the Lion resembles Shere Khan, but the acting is fresh and unique. 
At one point during production Milt must have raised a fuss about inconsistencies in the drawings of various animators. This prompted Ward Kimball to send this memo to the animation staff.
The tone of it just cracks me up. (I believe the stone-rubbed portrait of Walt still hangs in the old Animation building.)



That's Kimball with producer Bill Walsh, next to Milt's enlarged character drawings. These were used during live action rehearsals as a guide for the actors.


Here are copies of a few key drawings from a Kahl scene, the King is beating up the befuddled  Secretary Bird, who just noticed that the King's medallion is missing.  Look at the beautiful follow through and weight of the Lion's heavy sleeve.  









Sunday, July 1, 2012

Dick Jones





Who is Dick Jones? He is none other than the voice of Pinocchio.

I had a fun dinner the other week with some friends including Dick Jones and his lovely wife Betty.
And wouldn't you know, I just happened to have some model sheets with me.
Dick was already a child actor before he voiced that iconic character for Disney. 
He was in recording sessions doing Pinocchio off and on for about a year and a half, from age 10 until 11 1/2.
I asked him what it was like to see the whole film way back for the first time, all finished.
His answer surprised me. Dick didn't attend the premier screening, but he felt like he had seen the  entire film, in pieces while he was working on it. It wasn't until a few years ago that he watched the complete movie, when it came out on Blu- Ray and the El Capitan Theater in Hollywood had a screening of the restored  film. He thinks this is the best animated movie Walt ever made, and many people would agree with him. (It's just fun to see how Dick says this, with an honest sense of pride.)

His long acting career included many roles in Westerns, on the big screen as well as on TV. 
That's him in the photo below recording Pinocchio next to Cliff Edwards, the voice of Jiminy Cricket.
What a great performance, so fitting for the character. Full of enthusiasm, innocent, naive and very charming.
The animation roughs are by Milt Kahl from the naughty cigar smoking sequence.
After having re designed Pinocchio early on (I'll get to that in a future post) this became a sort of break through assignment for Milt, from then on he was one of the supervising animators.







Thursday, June 28, 2012

The Last Two Character Panels


These are the last panels that were part of an exhibition at Disney Feature Animation a few years ago. I will never forget the opening, the guests of honor were Marc Davis and Ward Kimball.
And everybody loved to study these oversized rough animation drawings.
To come up to this quality of design and personality today would be a real challenge.

There will be more specific posts on some of the featured characters in the near future, like Pinocchio, the cast from Bedknobs and Broomsticks and Prince Phillip.

Disney pencil animation rocks. Big time.





Tuesday, June 26, 2012

John P. Miller

                                                                     ©LIFE

His colleages at Disney called him Jack. He worked at the studio between 1934 and 1942 as a story and Vis Dev artist -exraordinaire!! 
Probably his most famous accomplishment is his work on the short Baby Weems, which was part of Disney's Live Action/Animated film "The Reluctant Dragon" from 1941.
Walt must have been so impressed with Miller's work that he invited him to join "El Grupo" for the now famous trip to South America, where a few Disney artists studied and sketched local art and folklore as research for a variety of upcoming short films. Other members in that group included Frank Thomas, Mary Blair, Lee Blair, Herb Ryman and James Bodrero.
To find out more about that trip and its significance in wartime history watch Ted Thomas' fantastic film "Walt & and El Grupo"  It is available on Amazon :


But back to Baby Weems, which is unique in that it's story is told by showing Miller's storyboard sketches only. There is a very limited amount of animation on the screen to add a little flair.
Joe Grant and Dick Huemer wrote the story treatment, and the whole thing works beautifully without being fully animated.

Below is a sampling of Miller's story sketches, they rank among the best ever done at the studio.
Everything comes together here, simple charm, irreverent humor, great staging and some exraordinary line work.

Go over to Michael Spoorn's blog, a while ago he posted an article on J.P.Miller, written by the one and only John Canemaker for ASIFA magazine. It's a must read, and shows some stunning artwork.
Here are the links for part one and two :