The aClion is checked forward and backward in minU! A whole SUlek of drawings can be lifted off the pegs and nipped in! Usually the animator tries 10 feel tbe action as be makes! Those were days of invention and IlIl'. Wall had grown up watching the great vaudeville aclS of the time. Walt admired Chaplin and lhe olher film comedians, KeatOR. For instance. A lillie old lady trying to sell her lasl bunch of violets would gel a very con cerned response to suc h a lumble.
BUI an arrogant construction boss who hadjusl ridiculed some wone. Marcel Marceau used a simpler example: if a dign ified man slips on a banana peel. If il happens to a man who is down and out. 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. Lau rel and Hardy used these ructions extensively. Years later. Jack Ben ny became famous for his abiJiIy to provoke sustained laughter by llIerely looking blankly out at the audience. Of course.
II '" t,. The dcSQlslion when Ih ings went wrong. This ""Ii acti",. Animation began 10 corne. They laughed harder and remembered. When Rfflli,r"s Dignl w. His answer was a quick and dcfinile affinnal;ve. WI none of lhem n:ally knew anYlhing alxxlI animalion or how 10 make a film.
Mudios Ihat he fillllUy had some professionals 10 help improve the prodOCl. Typical of Wah. Wilfred Jac kson. Wah could make you fcd n:a. I bad when he wanted '0. I don'. Wah""" a '"CT ' p. BUI the field of enlenainmtnl is wide.
Wah 's ideas of enlena,nmenl ,,-. Inslead of Ihinking of canoon malerial as being cmenaining. W had 10 f,nd. If :'l io. Ea,'h drawing. Iy ",Iated dnvo' inj:s. Icnly WK "'a. Ihat we di""" ',,il Man ' pr,lbk01S could""" then bo. The ,nimat''''.. We oughta be looking! OI" fMtnaininl way. III be tw. And when the animalor felt he was gelli ng close to handling thnl corm:tly, he eOCOlln1ered another admonition. Nothing comes off WOIIl ba1l.
That ",. As one recalled withoul malice, ""It didn'l mailer how many times "ou did it over, Wall bad to get Alone poinl, he sct up a lable in the middle of lhe animators' room and had them bring their SoCenes 10 him Stlldying the action. Walt ull!
Siom and was quick 10 wucale those Years lalcr. Wah could ,ni ma'e as we ll a. The assist. Iy uff could be correc! This probIbly beg. As le:! Wilf,ed JilCksoo add Dick Hueme. Wall 'HlUld lak" stori"s and acl them oul 31 a mcel i.. And then: it ", You d know uilClly wh. FOIlU n. The men never. Iayfd for Ihe fealUre film but immedialely con veiled oulside rOl" an imprumptu meeling on what went over and..
I walked by and on lhe "'ay I Maid Roy say in!! They released ,k. OUI lhere on lhe Tile audience n:3C1ion was. SIOf ' meelings. By This was a series o f drawings that ani. II was ideal for walks, dances. I nd tef1ain "scramble IICtions" as a character tried to gel.
In thne cues. In OIb:r uses. TIw Cr0S3-U1'tr. By animaling a lone figure going 10 the: lefl in a simple dance slep. AI the: appropriale lime. TlIC audience was cnthralled and could AI50 pllpular was lhe series of drawings run in a cyde tllal animated the road as a character '.
Thnop j. EllS ""I. J ust slightly better.. No one tlle'W how 10 gtl any change of "'al"" Of flow o f Xlioa from. Since no "! If kne And 'oo "'t gOi tile 00d ' the same all the ti me- he ran btnd h:. Wonls like "aiming" and "overlapping" and "pose to. IUggested that certain animatiun procedures gradually had bee" iMllated and named. Verb, turned jnm noun, IWCmighl Why don'l you melch him nUl ",nre '! Thty could IlOl expect 'uccess e"ery time.
A good example of hi, is the bent arm willt s The squashed position can depict Ihe form ei1htr n. The stretched position always shows.
Immediately tllC animators tried to outdo each other in making dr''''ings with more and more squash and stretch. Through the mid-thinie.
If dropp.. On 1M "1""" ""8" of the: dail ' ""wsl'Jl"' l C we. Here Were great photos showing the elasticity of the human body in every kind of reach and stretch and violent action.
Our animation principles were clearly evident in the bulges and bumps thai contrasted to long. Mixed in with these w ntonion s wcre examples of the whole figure communicaling joy. It was quic kly rendered. The assignment waS merely to represent the ball by a simple circle. We CQIIld have either a forward movement progressing the ball across the paper.
It seemed lik simplicity itself. We were encouraged to change the shape of the ball in tbe fasto:r SCl:mcnu of the bounce.
This change at the bottom also gave the feeling of Ih t for the spring back into the air. 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.
Howeve r. Some I0OI added distinction by stming with a big bounce. Some put the action in perspec live to show Iiow well they could figure a complicated wigrrrnent. These men were grabbed quickly by the Effecls De partment. Or crashing like a broken egg on the rond boonce. ElongiJIing 1M drawing. Anticipat ion People in the audience watching an animated ""ene will n01 be able to understand the events on the scrcen unless there is a planned sequence of actions that leads them clearly from one activity to the next.
This anlicipa-. Before a man runs. The: opposite of thi s is the "surprise gag. If Oswald lhe Lucky Rabbit is W put hi s hand in his pockello get. When ,'''' hand is aimed. The head nnl10l be looking off somewhere else-the impol1ant ICtion is Oswald's Il:lChing into his pocket. No one should nftd to aSk. Ued how il should lit done. It SeemS to be the na Ural way for creatures to move.
To tho: golfer. Without that mo"" the might iest s wing is no mon: tW a bunt. Staging "Staging" is the most ge""ral of the ptinciples because it covers lO many areas and goes back so far in the tho. An IOCli. The most important cons ideration is always the "story point.
Each 5nr. If I "spooky" feeling is desired. J or ""'. I I yanl, cloud. Main The illusion of life: Disney animation. The illusion of life: Disney animation Frank Thomas , Ollie Johnston An out-of-print collector's item since , the definitive account of the development of Disney animation explains what made Disney's style unique and features original sketches and drawings revealing the origins of Mickey and the rest.
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