Friday, January 18, 2019
When I look back at my career at Disney, I remember that once in a while everything came together just about perfectly for an animated film I was a part of.
Aladdin is one of those films. It remains arguably the most beautiful looking film of my era.
I think everybody was in the right spot as far as casting. Directors, writers, animators, voice talents,
composer etc, everybody's work jelled and made for an amazing film.
Eric Goldberg took us to a new direction with his animation of the Genie. Fluid, simple and uncluttered. Stylized while still being commercial and accessible. His influence on the movie can't be overstated.
That being said, we did have our bumps in the road. After the first story screening, Jeffrey Katzenberg walked off remarking:"You can keep the title (of the film)."
The story got reworked, Aladdin's mother got the boot and certain songs were cut, because they didn't promote story or character.
As for myself, Jafar was a joy to design based on several artists' work. When it came to his color scheme I did argue though with our production designer's choices.
Still, it all came together in the end.
Above Ron and John behind Kent Melton's beautiful character maquettes.
Next up John Musker with Jafar's voice Jonathan Freeman and Aladdin's singing voice Brad Kane.
Jonathan with lyricist Tim Rice and composer Alan Menken.
A few scenes that represent my earliest animation on the film.
Iago by Will Finn, the Thief by Dan Hofstedt.
Sunday, January 13, 2019
Milt Kahl sure had some fun animating dialogue scenes with Sir Kay from the Sword in the Stone.
In this scene from an early sequence Kay turns toward Wart who is observing Kay's hunting "skills" from a tree branch above.
Milt drew facial expressions and mouth configurations that let you know right away, this guy is not very bright. The puckered lips for QUIET and WART, then the wide open mouth for QUIET, and later for WART. There is comedy in the way the mouth moves during the dialogue.
When I was animating Jafar way back, I tried to aim for humor in some of his dialogue scenes.
Weird mouth shapes that would hopefully express character while still being in sync with the words spoken.
The thing with Milt is that the flat graphic character design still turns absolutely three-dimensionally in space. He could draw any mouth configuration from any angle.
Come to think of it, I would have added some teeth to the last mouth shape in order to pronounce the T in Wart. But what do I know?
Here's more on Kay:
Thursday, January 10, 2019
A great self caricature of Milt Kahl announcing his change of address. Not sure exactly when this occurred, but I have a way of finding out. I googled the address and these images came up.
PS This image was offered on eBay a while ago. I believe it is a tracing of Milt's original ink drawing.
Here is a low res version of what I believe to be the original.
Friday, January 4, 2019
We are at it full time! More and more final color is pouring in. I am so excited!
Honestly, I didn't expect the final footage to turn out this beautiful.
Above Sarah is encountering a tiger cub during a winter sequence in Siberia.
The cub's mother isn't happy about this, so she attacks.
What is the outcome? You'll have to wait and find out.
© Andreas Deja
Here is an earlier post regarding this scene: