I remember animating this scene early on in production of Who Framed Roger Rabbit.
The Disney Archives recently posted these three phases of our process which combined animation with live action.
It was ABSOLUTELY essential that the animation would hide any live action gadgets that were needed to hold real props or create effects, like real water in this case. The animation needed to be on 1s (like the live action), which resulted in a ton of work. But I had a blast working out the technical challenges for each scene. Because I knew that when ILM would send us the final scene (with highlights and shadows) to be shown in London during "rushes" or "dailies" we will see magic.
Video essayist Kristian put this clever and informative youtube film together. It explains how we did some of this stuff:
A handsome article from Sketches Magazine, spring 1994.
Its readership consisted mostly of Disney fans, so the information is basic. But the article does make the point that even though most people believe there is ONE Disney style, beautiful artistic variations can be pointed at from films through the decades.
From early cozy looking watercolors to the gritty, almost avant garde style for 101 Dalmatians.
And yes, I do believe that Aladdin fits right in with these masterpieces of stage sets for the characters.
I remember when I saw the first finished backgrounds for Aladdin, we had just started production animation. I couldn't believe my eyes. It seemed like the studio had hired back Claude Coats, Bill Layne, Al Dempster and all the other old-timers. Aladdin represented a huge artistic leap forward for my generation of animated film makers.
And then there was Eric Goldberg's spectacular animation of the Genie....I knew then that this film was going to be extraordinary!!!
For a while during WWII Frank Thomas joined the US Armed Forces as a member of the First Motion Picture Unit, which produced training films at the Hal Roach Studio.
Frank directed this 20 min. live action/animated short film called Camouflage from 1944. He also animated the "host" character, a chameleon. How appropriate!
I remember Frank briefly talking about this project, but hadn't seen it until a few years ago when it became available online.
The character animation is incredible! But what would you expect from a young Frank Thomas who had just animated on Pinocchio and Bambi ? In films such as this one you needed to get many technical aspect of warfare across. To help hold the audience's attention the chameleon character was added for entertainment.
This is fantastic vintage Thomas animation from the medium's golden age.
A charming article in Sketches Magazine from 2006.
Lisa Davis talks about her experience voicing Anita in Disney's 1961 classic 101 Dalmatians.
Several animators were involved in designing and animating Anita.
First there were Bill Peet's story sketches which served as a springboard to the animators.
Marc Davis (probably before getting going on Cruella) animated Anita at the beginning of the film when she meets Roger Radcliff. There is a little bit of Aurora in these animation roughs which is not surprising. Marc had just finished animation on the princess as well as on Maleficent.
Actress Helen Stanley (who had modeled for Aurora) was filmed as she acted out scenes with Anita.
At that time Les Clark was cast to animate the human female lead, but not before Milt Kahl tried out some character designs. These are Milt's drawings.
In the end Milt took over the character of Anita, and he caricatured her facial features while maintaining a sympathetic heroine type appearance. Less formulaic, too.
Great character design, wonderful animation and a realistic, modern relationship to her husband Roger. A triumph for a straight, female Disney protagonist.